Preface Introduction: The Role of the Reader I. Open 1. The Poetics of the Open Work 2. The Semantics of Metaphor 3. On the Possibility of Generating Aesthetic Messages in an Edenic Language II. Closed 4. The Myth of Superman 5. Rhetoric and Ideology in Sue's Les Mysteres de Paris 6. Narrative Structures in Fleming III. Open/Closed 7. Peirce and the Semiotic Foundations of Openness: Signs as Texts and Texts as Signs 8. Lector in Fabula: Pragmatic Strategy in a Metanarrative Text Appendix 1 Appendix 2 Bibliography

The Role of the Reader: Explorations in the Semiotics of Texts

This book is based on a translation of Lacan's 1953 article that became a manifesto for a generations interested in a new reading of Freud. Lacan offers a significant and fertile return to the heart of the Freudian texts, and translator Anthony Wilden expands and amplifies the text with extensive notes and a commentary that places Lacan's work in the context of contemporary thought.

Afloat with Jacques LacanEcrits. Paris: Editions du SeuilThe Language of the Self: The Function of Language in Psychoanalysis

Hemingway's Classic Portrait Of The Pageantry Of Bullfighting. Still considered one of the best books ever written about bullfighting, \"Death in the Afternoon\" reflects Hemingway's belief that bullfighting was more than mere sport. Here he describes and explains the technical aspects of this dangerous ritual, and \"the emotional and spiritual intensity and pure classic beauty that can be produced by a man, an animal, and a piece of scarlet serge draped on a stick.\" Seen through his eyes, bullfighting becomes an art, a richly choreographed ballet, with performers who range from awkward amateurs to masters of great grace and cunning. A fascinating look at the history and grandeur of bullfighting, \"Death in the Afternoon\" is also a deeper contemplation on the nature of cowardice and bravery, sport and tragedy, and is enlivened throughout by Hemingway's pungent commentary on life and literature.

Death in the Afternoon

Faunal resources have played a wide range of roles in human life from the earliest days of recorded history In addition to their utilitarian importance, animals have been recognized in religion, art, music and literature and other different cultural manifestations of mankind Animals uses and the means by which they are exploited by humans, as well as the cultural aspects which conduct interactions between people and animals, are implicated in a lower or higher pressure on populations of exploited species, reflected in either their sustainable use or even lead to their extinction The variety of interactions between humans and animals is the subject matter of ethnozoology - the branch of ethnobiology that investigates the knowledge human societies have accumulated concerning animals, as well as their significance to those people and their uses Ethnozoological studies can be a valuable asset to increase our understanding of the cultural, economic, social, and traditional roles of played by animals In this context, they have a central role in conservation and management This work provides a brief review on the main forms of interactions between humans and the fauna along history, and their ecological implications, and discusses the role of the ethnozoology in animal conservation

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Relationships between fauna and people and the role of ethnozoology in animal conservation

During the 1990s, humanitarian intervention seemed to promise a world in which democracy, self-determination and human rights would be privileged over national interests or imperial ambitions. Orford provides critical readings of the narratives that accompanied such interventions and shaped legal justifications for the use of force by the international community. Through a close reading of legal texts and institutional practice, she argues that a far more circumscribed, exploitative and conservative interpretation of the ends of intervention was adopted during this period. The book draws on a wide range of sources, including critical legal theory, feminist and postcolonial theory, psychoanalytic theory and critical geography, to develop ways of reading directed at thinking through the cultural and economic effects of militarized humanitarianism. The book concludes by asking what, if anything, has been lost in the move from the era of humanitarian intervention to an international relations dominated by wars on terror.

Reading Humanitarian Intervention: Human Rights and the Use of Force in International Law

Because the stories in James Joyce's Dubliners seem to function as models of fiction, they are able to stand in for fiction in general in their ability to make the operation of texts explicit and visible. Joyce's stories do this by provoking skepticism in the face of their storytelling. Their narrative unreliabilities-produced by strange gaps, omitted scenes, and misleading narrative prompts-arouse suspicion and oblige the reader to distrust how and why the story is told. As a result, one is prompted to look into what is concealed, omitted, or left unspoken, a quest that often produces interpretations in conflict with what the narrative surface suggests about characters and events. Margot Norris's strategy in her analysis of the stories in Dubliners is to refuse to take the narrative voice for granted and to assume that every authorial decision to include or exclude, or to represent in a particular way, may be read as motivated. Suspicious Readings of Joyce's Dubliners examines the text for counterindictions and draws on the social context of the writing in order to offer readings from diverse theoretical perspectives. Suspicious Readings of Joyce's Dubliners devotes a chapter to each of the fifteen stories in Dubliners and shows how each confronts the reader with an interpretive challenge and an intellectual adventure. Its readings of "An Encounter," "Two Gallants," "A Painful Case," "A Mother," "The Boarding House," and "Grace" reconceive the stories in wholly novel ways-ways that reveal Joyce's writing to be even more brilliant, more exciting, and more seriously attuned to moral and political issues than we had thought.

Suspicious readings of Joyce's Dubliners

The twentieth century will be remembered for great innovation in two particular areas: art and culture, and technological advancement. Much of its prodigious technical inventiveness, however, was pressed into service in the conduct of warfare. Why, asks Margot Norris, did violence and suffering on such an immense scale fail to arouse artistic and cultural expressions powerful enough to prevent the recurrence of these horrors? Why was art not more successful through its use of dramatic, emotionally charged material, its ability to stir imagination and arouse empathy and outrage in producing an alternative to the military logic that legitimates war?Military argument in the twentieth century has been fortified by the authority of the rationalism that we attribute to science, Norris argues. Warfare is therefore legitimized by powerful discourses that art's own arsenal of styles and genres has limited power to counter. Art's difficulty in representing the violent death of entire generations or populations has been particularly acute.Choosing works that have become representative of their historically violent moment, Norris explores not only their aesthetic strategies and perspectives but also the nature of the power they wield and the ethical engagements they enable or impede. She begins by mapping the altered ethical terrain of modern technological warfare, with its increasing targeting of civilian populations for destruction. She then proceeds historically with chapters on the trench poetry and modernist poetry of World War I, Hemingway's A Farewell to Arms and Erich Maria Remarque's All Quiet on the Western Front, both the book and the film of Schindler's List, the conflicting historical stories of the Manhattan Project, a comparison of American and Japanese accounts of Hiroshima, Francis Ford Coppola's film Apocalypse Now, and the effects of press censorship in the Persian Gulf War.By looking at the whole span of the century's writing on war, Norris provides a fascinating critique of art's ethical power and limitations, along with its participation in as well as protest against the suffering that human beings have brought upon themselves."

Writing war in the twentieth century

The Decentered Universe of Finnegans Wake: A Structuralist Analysis

. . . some of the finest, most politically sensitive and informed feminist criticism yet published on Joyce. . . . it will have a major impact on the field of Joyce studies . . . --Vicki Mahaffey, associate professor of English, University of Pennsylvania In this revolutionary work, Margot Norris proposes that Joyce's art critiques modernism's fundamental concept of the artist as martyr to bourgeois sensibilities by revealing an awareness of the artist's connections to and constraints within bourgeois society.

Margot Norris

Papers

Suspicious readings of Joyce's Dubliners

Writing war in the twentieth century

The Decentered Universe of Finnegans Wake: A Structuralist Analysis

Joyce's Web: The Social Unraveling of Modernism

Beasts of the Modern Imagination: Darwin, Nietzsche, Kafka, Ernst, and Lawrence