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1
Matthew, Wunder, ed. Cruise secrets exposed. Santa Monica, Calif: Universal Information Corp. Pub. Co., 1995.
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2
The inside scoop: A guide to nonfiction investigative writing and exposés. Westport, Conn: Libraries Unlimited, 2009.
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3
What you aren't supposed to know about writing and publishing: An exposé of editors, agents, publishing houses, and more-- : an insider's report. New York: Shapolsky Publishers, 1988.
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4
Alù, Giorgia. Journeys Exposed: Women's Writing, Photography, and Mobility. Taylor & Francis Group, 2018.
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Alù, Giorgia. Journeys Exposed: Women's Writing, Photography, and Mobility. Taylor & Francis Group, 2018.
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Alù, Giorgia. Journeys Exposed: Women's Writing, Photography, and Mobility. Taylor & Francis Group, 2018.
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7
Alù, Giorgia. Journeys Exposed: Women's Writing, Photography, and Mobility. Taylor & Francis Group, 2018.
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8
Cox, Joseph. Woman on the Beast Exposed: Inspirational Writing of Apostle JC. Independently Published, 2019.
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9
English Exposed: Common Mistakes Made by Chinese Speakers. Hong Kong University Press, 2017.
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10
Wunder, Matthew, and Eppie Epstein. Cruise Secrets Exposed: The How to Resource Guide to the Best Values in Cruise Travel. Studio 4 Productions Publishing Company, 1995.
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11
Oljer, Sean X. Publishing Predators Exposed: How to Identify and Evade Them While Safely, Inexpensively, and Actually, ... publish Your Writing Yourself. Independently Published, 2020.
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12
Zanoni, Patrizia, and Koen Van Laer. Collecting Narratives and Writing Stories of Diversity. Edited by Regine Bendl, Inge Bleijenbergh, Elina Henttonen, and Albert J. Mills. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199679805.013.9.
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Drawing on the personal accounts of researchers of diversity, this chapter discusses the praxis of doing qualitative diversity research. First, it discusses how during a process of socialization, researchers are exposed to norms which promote certain research practices important to achieve the status of ‘good academic’. Second, it discusses the ambiguous and unstable power and identity dynamics characterizing qualitative research on diversity. Third, the chapter addresses the issue of translating research findings into writing, and highlights how in this process, authors have significant power, yet are also regulated in particular directions by academic conventions. Fourth, it discusses the issue of reflexivity, highlighting how it can not only be practiced in a ‘good’, but also a ‘bad’, and an ‘ugly’ way. In this way, this chapter highlights the identity- and power-laden difficulties and dilemmas confronting qualitative researchers in the field of diversity.
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Hodgkins, Christopher. Settlers in New Worlds. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.31.
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Early modern colonial survival meant that imaginative writings about settlers in new worlds outnumbered imaginative writings by those settlers; yet new world settlers did leave literary artefacts of their interpretive communities. Writing about new worlds tended to fire the fancy, either in fantastic exploration narratives, fabulous colonial prospecti, reflective essays, or in the more outright fictions of dramatic and utopian literature, and of lyric and epic poetry. Writing in and from new worlds was often more quotidian, with nonfiction prose genres like ships’ logs, company reports, personal letters, spiritual diaries, and sermons predominating with a sprinkling of original poetry, proverb, and song. Old genres were modified, and new ones born, by necessity and invention: not only the traveller’s tale and ‘utopian’ fiction, but also the conquest story, the atrocity exposé, the settlers’ covenant, the captivity and conversion narrative, and the extended Eucharistic meditation and puritan jeremiad—and the novel.
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Cooke, Parsons 1800-1864. Modern Universalism Exposed: In an Examination of the Writings of Rev. Walter Balfour. Creative Media Partners, LLC, 2021.
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17
Jay, Gregory S. Queer Children and Representative Men. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190687229.003.0006.
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No novel since Uncle Tom’s Cabin achieved the celebrity and cultural impact of To Kill a Mockingbird in regards to race in America. The chapter explores Lee’s youthful experiments in writing and gender-bending, and discusses how her first unpublished novel, Go Set a Watchman, approached themes both repressed and continued in Mockingbird. Using ideas from Queer Theory, the chapter argues that Lee’s racial liberalism is less comforting when read through the lens of her gender-bending children and closeted narrator, showing how the plots about Tom Robinson and Boo Radley are finally brought together. Analysis of Lee’s college writings expose her early interest in satirizing Southern racial politics, while biographical information from those years supports hypotheses about her queering of sexual norms.
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Miller, Paul. Many Ways to Reading Success. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190880545.003.0009.
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On average deaf readers end up being poor readers. Their reading weakness has been claimed to reflect primary deficits in their ability to access and process the phonology of written words, but evidence from research with deaf Hebrew readers and deaf readers of other language backgrounds suggests that the role of phonology in explaining their poor reading comprehension has been overstated. To corroborate this conclusion, the author presents evidence from three sources. The first demonstrates the ability of a deaf youngster to acquire a language through reading and writing. The second presents evidence of deaf preschoolers’ ability to acquire effective word reading skills without phonological mediation. The third shows how deaf readers’ underdeveloped morpho-syntactic understanding improves when they are exposed to an interactive computerized learning environment that visually demonstrates how language rules operate. A paradigm shift in how reading skills should be developed in prelingually deaf individuals is discussed.
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Bogić, Anna. Becoming Woman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190608811.003.0017.
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Simone de Beauvoir’s famous dictum (“One is not born, but rather becomes, woman”) and The Second Sex appeared in Serbo-Croatian translation (Drugi pol translated by Zorica Milosavljević and Mirjana Vukmirović) in 1982 in Yugoslavia. Socialist Yugoslavia and Yugoslav feminists at the time were an important exception to the trends and ideologies of both the Cold War East and West. In Yugoslav socialism, the meaning of “woman” was shaped by the Yugoslav government’s pursuit of the “women’s emancipation” project assigning women the triple role of mother, worker, and comrade. Despite this socialist project, Beauvoir’s Drugi pol was welcomed by Yugoslav feminists who denounced the continued patriarchal treatment of women under Yugoslav socialism. For these Yugoslav feminists, Beauvoir’s writing exposed the social construction of “nature” as the foundation for women’s subordination. The shifting meaning of “woman” and renewed women’s subordination in a post-socialist society only served to confirm the continued relevance of Beauvoir’s dictum.
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Lindsay, David. Scientific Writing = Thinking in Words. CSIRO Publishing, 2011. http://dx.doi.org/10.1071/9780643101579.
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Telling people about research is just as important as doing it. But many researchers, who, in all other respects, are competent scientists, are afraid of writing. They are wary of the unwritten rules, the unspoken dogma and the inexplicably complex style, all of which seem to pervade conventional thinking about scientific writing.
This book has been written to expose these phantoms as largely smoke and mirrors, and replace them with principles that make communicating research easier and encourage researchers to write confidently. It presents a way of thinking about writing that emulates the way good scientists think about research.
It concentrates on the structure of articles, rather than simply on grammar and syntax. So, it is an ideal reference for researchers preparing articles for scientific journals, posters, conference presentations, reviews and popular articles; for students preparing theses; and for researchers whose first language is not English.
Scientific Writing = Thinking in Words expounds principles that produce scientific articles in a wide range of disciplines that are focussed, concise and, best of all, easy to write and read. As one senior scientist observed, ‘This book not only made me a better writer; it made me a better scientist’.
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Lichtenstein, Nelson. Writing and Rewriting Labor’s Narrative. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037856.003.0002.
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This chapter presents the author'a account of how he reframed his understanding of the structures and social impulses that create the consciousness of the working-class as well its antagonists. At Berkeley in the early 1970s he was convinced that neither the law, religion, ethnicity, nor even race were as important as the work experience itself in shaping the consciousness of industrial unionists, whose sit-down strikes and wildcat strikes seemed to emerge directly out of a revolt against hierarchy and authority on the shop floor itself. However, he has come to the conclusion that the relationship of an individual to his or her work life is of less immediate importance than that person's capacity to identify with and then expound a set of ideas and aspirations that may or may not run parallel to what an outside observer might seem to think met the person's objective interests.
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Gurian, Elaine Heumann. Centering the Museum: Writings for the Post-Covid Age. Taylor & Francis Group, 2021.
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Gurian, Elaine Heumann. Centering the Museum: Writings for the Post-Covid Age. Taylor & Francis Group, 2021.
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24
Freedman, Linda. Blake, Duncan, and the Politics of Writing from Myth. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198813279.003.0006.
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Robert Duncan saw Blake’s images of ‘fire and blood’ alive in contemporary America. Like many of his generation, he was appalled by the war in Vietnam, believing it to be symptomatic of a deeper spiritual sickness in America. He wanted poetry to provide an alternative form of democratic participation which would recover the meaning of freedom from the toxic lexicon of American foreign policy. Duncan, like Blake, imagined the body, and the body politic, as a site of alterity and ethical responsibility, charged with repression and desire. His reading of Blake sought to preserve the place of the Romantic poet in the modern world but, ironically, helped expose its fragility.
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Why we write about ourselves: Twenty memoirists on why they expose themselves (and others) in the name of literature. 2016.
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26
Dwan, David. Liberty, Equality, and Humbug. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198738527.001.0001.
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Orwell is part of the political vocabulary of our times, yet, partly because of this popularity, what he stands for remains opaque. His writing confirms deep and widely shared intuitions about political justice, but part of its enduring fascination derives from the fact that these intuitions don’t quite add up. This book accounts for these inconsistencies by exploring the broader moral conflict at the centre of Orwell’s work and the troubled views of justice it yields. Examining five key concepts in turn—liberty, equality, solidarity, truth, and happiness—the book shows how Orwell entertained volatile views of each. He also had difficulty deciding between ideals when they clashed. Orwell’s contradictions express more than his intellectual shortcomings or complacency; they expose the peculiar difficulty of justice itself. By reading Orwell, we see that justice is a many-headed ideal that demands from us different and rival things. Examining the whole sweep of Orwell’s writings, but paying particular attention to Animal Farm and Nineteen Eighty-Four, this book shows how literature—and narrative in particular—can be a source of political wisdom.
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Maree, Claire. queerqueen. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190869618.001.0001.
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Queerqueen examines the editing and writing of queer excess into Japanese popular culture through mediatization of queerqueen styles. The book illustrates how a diversity of gender identifications, sexual orientations, and discursive styles are packaged together as if to form a homogenous character—the queerqueen. In a range of genres from conversational dialogue books to lifestyle television and animations, queerqueen styles are configured as crossing into popular media via the body of the authentically “queer male,” whose “authentic” speech is produced spontaneously without scripting. Editorial interventions enacted through the collaborative language labor of stenographers and record makers, graphic designers and illustrators, and editorial teams (re)trace the sonic qualities of the queerqueen. Through visual mimesis, contemporaneous citational practices, and the mobilization of nostalgia, queerqueen styles are enregistered as talk that is inherently excessive and in need of containment. Editorial acts of containment such as self-censorship simultaneously expose the sexualized nature of gendered norms of talk in Japanese. It is also here that possible spaces for dissent open up through contestation of the limits to excess. The visual and sonic crossings of gender norms unsettle heteronormative mapping of speech styles onto statically gendered bodies. Strategic use of a variety of linguistic resources such as hyper-masculine forms and hyper-politeness exposes the veneers of technologies that seek to regiment excess. Analysis of the inscription of queerqueen styles reveals metapragmatic stereotypes of gender, sexuality, and desire that are essential to the business of mainstream entertainment.
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Ferguson, Sam. Raymond Queneau’s Œuvres complètes de Sally Mara. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198814535.003.0006.
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This chapter follows the development of Raymond Queneau’s works published under the pseudonym (or auteur supposé) of Sally Mara, including her journal intime, at a time when diary-writing and the writing subject itself were out of favour with the literary avant-garde. A novel published in 1947 attributed to Sally Mara, followed by her Journal intime (1950) and her Œuvres complètes (1962), draw on Gide’s experiments with diary-writing, but comically expose the formal processes by which an author-figure and literary œuvre are constructed. This is often done by creating conflict between the several authorial figures involved (Queneau, Mara, and the fictional editor Michel Presle), and by processes of metalepsis (the transgresssion of boundaries in a narrative framework). Yet the works do not reduce the author-figure to an entirely textual, discursive phenomenon, disconnected from reality, and they tend to endorse a reader’s curiosity about the ‘real’ author.
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Rani, Siti Ilyani, Abdul Hadi Abdullah, Suhaila Abdullah, and Rahimah Othman. PROCESS CONTROL IN CHEMICAL INDUSTRY AN ESSENTIAL GUIDE AND ANALYSIS. 2024th ed. PENERBIT UNIVERSITI MALAYSIA PERLIS, 2024. http://dx.doi.org/10.58915/bk2023.020.
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This book is a comprehensive and practical resource specifically tailored for undergraduate chemical engineering and chemical engineering technology students. This indispensable guide delves into the fundamental principles and applications of process control in the chemical industry, providing a thorough understanding of key topics such as process control hardware, sensors, mathematical modeling and control system analysis and design. Through the integration of real-life case studies and practical examples, students are exposed to the significance of process control and its vital role in optimizing chemical processes. By examining these real-world scenarios, students gain valuable insights into the challenges and consequences of process control failures, equipping them with the knowledge and skills to avoid such pitfalls in their future careers. The book adopts a clear and accessible writing style, ensuring that complex concepts are explained in a manner that is easily understandable. Visual illustrations and exercises further enhance the learning experience, allowing students to apply their knowledge and develop essential problem-solving skills. By delving into the core concepts of process control and providing practical guidance on its implementation, this book empowers students to become proficient in process control and excel as skilled process engineers. This comprehensive resource serves as an invaluable companion throughout their academic journey and beyond.
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Daw, Sarah. Writing Nature in Cold War American Literature. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430029.001.0001.
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Writing Nature is the first full-length ecocritical study of Cold War American literature. The book analyses the function and representation of Nature in a wide range of Cold War texts, and reveals the prevalence of portrayals of Nature as an infinite, interdependent ecological system in American literature written between 1945 and 1971. It also highlights the Cold War’s often overlooked role in environmental history, and argues for the repositioning of Rachel Carson’s Silent Spring (1962) within what is shown to be a developing trend of ecological presentations of Nature in literature written after 1945. Ecocritical analysis is combined with historicist research to expose the unacknowledged role of a globally diverse range of non-Western and non-Anglocentric philosophies in shaping Cold War writers’ ecological presentations of Nature, including Sufism, Taoism and Zen Buddhism. The book contains chapters on J. D. Salinger, Jack Kerouac and Allen Ginsberg, Paul Bowles and Mary McCarthy. It also introduces the regional writer Peggy Pond Church, exploring the synergies between the depictions of Nature in her writings and in those of her neighbour and correspondent, the atomic scientist J. Robert Oppenheimer. The place and function of Nature in each writer’s work is assessed in relation to the most recent developments in the field of ecocriticism, and each of the book’s six author case studies is investigated through a combination of textual analysis and detailed archival and historicist research.
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Schotter, Jesse. Misreading Egypt. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424776.003.0002.
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The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.
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Dall’asta, Monica, and Jane M. Gaines. Prologue. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0002.
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This prologue examines overarching issues about women's film history, feminism, and the researching and writing of film history. Foregrounding historiographic problems, it explores the researching and writing about women “in” and “as” “history” in the cinema century by focusing on the critical-historical approach, which deals with the problem of “the history of history” —the approach used to expose the never-neutral amnesias of traditional historiography and to counter its claim to objectivity with the inevitability of its “fictions.” The chapter discusses the concept of becoming historical others and highlights the impossibility of history's history by drawing on the case of Elvira Giallanella, an Italian director and producer never mentioned in previous accounts of Italian silent cinema but who suddenly made her way into feminist historiography after a 35mm print of her 1919 antiwar film Umanità was discovered in 2007.
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(Translator), Walter Klaassen, John Rempel (Translator), and Werner O. Packull (Translator), eds. Later Writings by Pilgrim Marpeck and His Circle: The Expose, a Dialogue, and Marpeck's Response to Caspar Schwenckfeld. Pandora Press (CA), 1999.
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Sowerby, Tracey A., and Joanna Craigwood, eds. Cultures of Diplomacy and Literary Writing in the Early Modern World. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198835691.001.0001.
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This interdisciplinary volume explores core emerging themes in the study of early modern literary-diplomatic relations, developing essential methods of analysis and theoretical approaches that will shape future research in the field. Contributions focus on three intimately related areas: the impact of diplomatic protocol on literary production; the role of texts in diplomatic practice, particularly those that operated as ‘textual ambassadors’; and the impact of changes in the literary sphere on diplomatic culture. The literary sphere held such a central place because it gave diplomats the tools to negotiate the pervasive ambiguities of diplomacy; simultaneously literary depictions of diplomacy and international law provided genre-shaped places for cultural reflection on the rapidly changing and expanding diplomatic sphere. Translations exemplify the potential of literary texts both to provoke competition and to promote cultural convergence between political communities, revealing the existence of diplomatic third spaces in which ritual, symbolic, or written conventions and semantics converged despite particular oppositions and differences. The increasing public consumption of diplomatic material in Europe illuminates diplomatic and literary communities, and exposes the translocal, as well as the transnational, geographies of literary-diplomatic exchanges. Diplomatic texts possessed symbolic capital. They were produced, archived, and even redeployed in creative tension with the social and ceremonial worlds that produced them. Appreciating the generic conventions of specific types of diplomatic texts can radically reshape our interpretation of diplomatic encounters, just as exploring the afterlives of diplomatic records can transform our appreciation of the histories and literatures they inspired.
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Nurhussein, Nadia. Black Land. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691190969.001.0001.
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This is the first book to explore how African American writing and art engaged with visions of Ethiopia during the late nineteenth and early twentieth centuries. As the only African nation, with the exception of Liberia, to remain independent during the colonization of the continent, Ethiopia has long held significance for and captivated the imaginations of African Americans. The book delves into nineteenth- and twentieth-century African American artistic and journalistic depictions of Ethiopia, illuminating the increasing tensions and ironies behind cultural celebrations of an African country asserting itself as an imperial power. It navigates texts by Walt Whitman, Paul Laurence Dunbar, Pauline Hopkins, Harry Dean, Langston Hughes, Claude McKay, George Schuyler, and others, alongside images and performances that show the intersection of African America with Ethiopia during historic political shifts. From a description of a notorious 1920 Star Order of Ethiopia flag-burning demonstration in Chicago to a discussion of the Ethiopian emperor Haile Selassie as Time magazine's Man of the Year for 1935, the book illuminates the growing complications that modern Ethiopia posed for American writers and activists. American media coverage of the African nation exposed a clear contrast between the Pan-African ideal and the modern reality of Ethiopia as an antidemocratic imperialist state: Did Ethiopia represent the black nation of the future, or one of an inert and static past? Revising current understandings of black transnationalism, the book presents a well-rounded exploration of an era when Ethiopia's presence in African American culture was at its height.
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Schoene, Berthold. Twenty-First-Century Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198749394.003.0034.
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This chapter looks at how the contemporary British and Irish novel is becoming part of a new globalized world literature, which imagines the world as it manifests itself both within (‘glocally’) and outside nationalist demarcations. At its weakest, often against its own best intentions, this new cosmopolitan writing cannot but simply reinscribe the old imperial power relations. Or, it provides an essential component of the West’s ideological superstructure for globalization’s neoliberal business of rampant upward wealth accumulation. At its best, however, this newly emergent genre promotes a cosmopolitan ethics of justice, resistance. It also promotes dissent while working hard to expose and deconstruct the extant hegemonies and engaging in a radical imaginative recasting of global relations.
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Myers, Alicia D. Conclusions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190677084.003.0006.
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This chapter summarizes the findings of the previous chapters, arguing that acknowledging the gender hierarchies and physiological constructions at the core of maternal imagery in the New Testament serves at least two purposes. First, it enables readers of the New Testament and early Christian literatures to understand better the imagery and theologies within these writings. Second, it exposes the fluidity and contested nature of gender constructions in developing Christianity, particularly in discussions of soteriology. Rather than consistently enforcing or prohibiting a maternal telos on women, these writings emphasize a need to be oriented toward life, the source and continuance of which is located in God alone. This reframing of ideal womanhood simultaneously reframes masculinity as well, even though it perpetuates the equation of perfection and masculinity. Noting the constructed nature of these gendered identities, however, can encourage contemporary readers to move beyond ancient gender hierarchies to better appreciate all life.
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Stone, Alex. Letter Writing Exposee 101: Learn the Secret Technique from Recruiters to Write the Perfect Letter to Get You That Dream Job and More. Independently Published, 2019.
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Phillips, Adam. Emerson and the Impossibilities of Style. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198737827.003.0009.
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As a writer Emerson privileges originality and idiosyncrasy over imitation and repetition. This puts him in a paradoxical position when he writes about style. Writers only write because of earlier writers; and they only learn to write, initially, through imitating those they emulate. And to develop a discernible style inevitably involves a certain amount of repetition—of vocabulary, of syntax, of rhythm, and of subject matter. If tradition makes originality possible, as Emerson can’t help but acknowledge, how does the writer sufficiently distinguish himself? And if style is only identifiable through its repetitions, how does a writer sustain his capacity to surprise? By wanting a style that can be consistently new and unprecedented Emerson exposes the impossibilities of style. It is the impossibility of style that at once inspires and encourages Emerson’s writing.
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Nelmes, Jill. The Screenwriter in British Cinema. British Film Institute, 2014. http://dx.doi.org/10.5040/9781838711719.
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Though screenwriting is an essential part of the film production process, in Britain it is yet to be fully recognised as a form in itself. In this original study, Jill Nelmes brings the art of screenwriting into sharp focus, foregrounding the role of the screenwriter in British cinema from the 1930s to the present day. Drawing on otherwise unseen drafts of screenplays, correspondence and related material held in the Special Collections of the BFI National Archive, Nelmes's close textual analysis of the screenplay in its many forms illuminates both the writing and the production process. With case studies of a diverse range of key writers – from individuals such as Muriel Box, Robert Bolt and Paul Laverty, to teams such as the Carry On writers – Nelmes exposes the depth and breadth of this thriving field.
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Woodruff, Paul. Staging Wisdom through Hamlet. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190698515.003.0003.
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Hamlet illustrates how wisdom can be staged in theater. It ought to be impossible, because theater is watching, and wisdom can't be watched at all. Moreover, people spouting wisdom are rarely worth watching. Successful theater makes fun of those who spout wisdom (such as Polonius) and engages its audiences constantly with humor or emotion, leaving no space for the reflection that leads to wisdom. So how could a play present wisdom successfully in performance? Plato concluded that the playwrights of his time could put nothing but fake wisdom on stage. Plato was wrong: although divine wisdom is beyond the reach of theater, human wisdom is not. Human wisdom lies mainly in recognizing human limitations. In writing to please his audience, Shakespeare succeeded in staging human wisdom, most notably in Hamlet, which brilliantly exposes the folly of those who pretend to be wise.
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Hsu, Hsuan L. The Smell of Risk. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479807215.001.0001.
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The Smell of Risk considers the capacities of olfaction as a tool for sensing and staging modernity’s differentiated atmospheres and their associated environmental risks. Focusing on American literature and art from the 1890s to the present, the book considers how smell stages the pathways through which environmental materials enter and interact with bodies in detective fiction, naturalist novels, environmental illness memoirs, environmental justice narratives, and olfactory art. These texts reframe modernization as a regime of differential deodorization that relocates bad air and its associated noxious odors to vulnerable spaces and populations even as it derecognizes olfaction as a mode of embodied knowledge. The Smell of Risk brings insights from the fields of material ecocriticism, sensory studies, atmospheric geography, and critical race studies to bear on diverse contexts of atmospheric disparity, including Latinx communities exposed to freeway exhaust and pesticides, Asian diasporic artists’ responses to racial discourses about Asiatic odors, and writings that explore the atmospheric devastation of settler colonialism and the olfactory capacities of Indigenous plants.
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Ware, Owen. Kant's Justification of Ethics. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198849933.001.0001.
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Kant’s arguments for the reality of human freedom and the normativity of the moral law continue to inspire work in contemporary moral philosophy. Many prominent ethicists invoke Kant, directly or indirectly, in their efforts to derive the authority of moral requirements from a more basic conception of action, agency, or rationality. But many commentators have detected a deep rift between the Groundwork for the Metaphysics of Morals and the Critique of Practical Reason, leaving Kant’s project of justification exposed to conflicting assessments and interpretations. In this major re-reading of Kant, Owen Ware defends the controversial view that Kant’s mature writings on ethics share a unified commitment to the moral law’s primacy. Using both close analysis and historical contextualization, Owen Ware overturns a paradigmatic way of reading Kant’s arguments for morality and freedom, situating them within Kant’s critical methodology at large. The result is a novel understanding of Kant that challenges much of what goes under the banner of Kantian arguments for moral normativity today.
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(Illustrator), Otto Steininger, ed. My Museum Journal: A Writing and Sketching Book (Getty Trust Publication: J. Paul Getty Museum). Getty Trust Publications: J. Paul Getty Museum, 2000.
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Faber, Roland. Uniting Earth to the Blue of Heaven Above: Strange Attractors in Whitehead’s Symbolism. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429566.003.0004.
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Symbolism is maybe one of the most obscure books of Whitehead's oeuvre: in between grand projects, small in appearance, seemingly integrated in other works, less known, and, to a certain extent, considered superfluous. Yet, on second thought, it might be that in its fringe existence Symbolism holds some gems to be rediscovered and cherished. Relating in maybe the most immediate way to current questions of language, ecology, and political philosophy by, at the same time, elaborating a highly creative conceptual multiplicity of modes of perception, Symbolism exposes us to a series of strange attractors which, while not absent from other works, might be found to be more densely interwoven here than elsewhere. The following considerations will name and relate some of these strange attractors to the issues the book seems to be addressing while speaking to us today, about a hundred years after its writing.
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Dwan, David. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198738527.003.0001.
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This chapter considers Orwell’s merits as a political thinker. It shows how his politics can only be understood by examining them in context—alongside contemporary debates about the importance of realism and the drawbacks of moralism in political life. The consistency and power of his views also need to be tested against a broader backdrop of political thought. Orwell was not a systematic thinker and he was famously hostile to intellectuals and theorists; yet the problems he encountered in politics had an irreducible conceptual element. Orwell’s contradictions express his own limitations, but they also expose the limits of justice itself. For justice, it would seem, is many-headed and services different—even incompatible—ends. Orwell’s writings express this conflict, producing a very agonized form of idealism.
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Crary, Alice. Coetzee’s Quest for Reality. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198805281.003.0008.
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In this chapter, Alice Crary argues that a truly ‘realist’ work of literature might be one that, instead of conforming to familiar genre-specifications, attempts by other means to expose readers to the real—that is, to how things really are. Crary highlights Coetzee’s efforts to elicit what she calls ‘transformative thought’: a process that involves both delineating the progress of individual characters in their quests for reality, and, in formal terms, inviting readers to, for instance, imaginatively participate in such quests. With regard to The Childhood of Jesus, she highlights resonances between these features of Coetzee’s writing and Wittgenstein’s procedures in the Philosophical Investigations. In doing so, Crary brings out a respect in which literature and philosophy are complementary discourses: literature can deal in the sort of objective or universal truth that is philosophy’s touchstone, and philosophical discourse can have an essentially literary dimension.
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Hardt, Yvonne. Engagements with the Past in Contemporary Dance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0014.
Full textAbstract:
For a long time, what has been considered “avant-garde” embodied the “new” and was perceived as different from those dance forms considered traditional, historical, or marked by ethnic inheritance. This chapter traces how contemporary dance performances and dance historical writing have challenged these demarcations as one detects a remarkable trend toward evoking the past in contemporary dance. Numerous artists and festivals increasingly feature works that address the past, having discovered the potential for a self-reflexivity of dance in conversation with its history. From this larger group of artists, the chapter focuses on four contemporary European choreographers: Jér ô me Bel, Xavier Le Roy, Eszter Salamon, and Martin Nachbar to discuss what working with the past in contemporary performance can entail. These choreographers expose different modes of taking up the past; however, they all engage a concept of history understood as a construction based on the needs of the present.
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Hallett, Nicky. Female Religious Houses. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.23.
Full textAbstract:
Nuns in early modern convents formed a discerning group of writers whose interpretive skills were distinctly shaped by their devotional discipline. This chapter explores their use of particular biblical passages that expose their contemplative concerns, aesthetic impetus, and wider mission to advance the spiritual state of their own readers. Among other material, the women drew on the Psalms, on Thomas à Kempis, the work of Teresa of Ávila and of other contemporary nuns, many of whom wrote anonymously and have only recently been identified. Nuns’ writing shows detailed knowledge of a wide range of secular and devotional material. Their use of quotation in private papers, publication, and around the convent building reveals a semi-sacramental, intercessional interest, to further their readers’ experience of the holy at a bodily as well as spiritual level. These authors seek to ‘infuse’ devotional feelings, simultaneously instructing and effecting change through the process of textual encounter.
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Fantl, Jeremy. The Epistemic Efficacy of Amateurism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807957.003.0003.
Full textAbstract:
This chapter discusses when knowledge can survive exposure to counterarguments, even if you find each step compelling and can’t expose a flaw. One consequence of Bayesian epistemology is that knowledge can survive if you lack the expertise to reliably evaluate the counterargument. Knowers can retain knowledge in the face of an apparently flawless counterargument as long as the counterargument is too sophisticated for them, and as long as their knowledge has a basis with which they have sufficient facility (this is one of the lessons of the literature on higher-order evidence). This is one reason why it is so important, in academic writing, to emphasize the case for the opposition. If you train your reader adequately, and they still find the steps in your argument compelling and are unable to locate a flaw, then it becomes harder for them to closed-mindedly dismiss your argument while retaining knowledge that you’re wrong.