Offering an introduction to the key concepts and themes in French feminist thought, both the materialist and the linguistic/psychoanalytic traditions, this title explores the work of a wide range of theorists: Simone de Beauvoir, Chantal Chawaf, Helene Cixous, Catherine Clement, Christine Delphy, Marguerite Duras, Colette Guillaumin, Madeleine Gagnon, Luce Irigaray, Julia Kristeva, Nicole-Claude Mathieu, Michele Montreley, Monique Plaza, Paola Tabet and Monique Wittig. It outlines the philosophical and political diversity of French feminism, setting developments in the field in the particular cultural and social contexts in which they have emerged and unfolded. The principal areas covered are: ongoing debates on the cultural construction and definition of sexual and gendered identities; the relationship between subjectivity and language; the roles played by both private and public institutions in the shaping of sexual relations; the issue of embodiment; and the relationship between gender, sexuality and race. Finally, the book traces the connections between French and Anglo-American feminist approaches and methodologies.

The body has been the focus of much recent critical attention, but the clothed body less so. In answering the need to theorize dress, this book provides an overview of recent scholarship and presents an original theory of what dress means in relation to the body. Identity relies on boundaries to individuate the self. Dress challenges boundaries: it frames the body and serves both to distinguish and connect self and 'Other'. The authors argue that clothing is, then, both a boundary and not a boundary, that it is ambiguous and produces a complex relation between self and 'not self'. In examining the role of dress in social structures, the authors argue that clothing can be seen as both restricting and liberating individual and collective identity. In proposing that dress represents 'a deep surface, ' a manifestation of the unconscious at work through apparently superficial phenomena, the book also questions the relationship between surface and depth and counters the notion of dress as disguise or concealment. The concept of the gaze and the role of gender are approached through a discussion of masks and veils. The authors argue that masks and veils paradoxically combine concealment and revelation, 'truth' and 'deception'. Here the body and dress are both seen as forms of absence, with dress concealing not the body, but the absence of the physical body.This provocative book is certain to become a landmark text for anyone interested in the intersection of dress, the body and critical theory.

While offering a comprehensive review of existing Klimt criticism, this book aims to shed new light on the artist's output by arguing that his works challenge a number of established boundaries, thereby performing a continual crossing of thresholds. The present study explores Klimt's threshold universe by means of detailed analyses of a wide range of his works from all phases of his prolific career, complemented by references to his correspondence. At the same time, it assesses the painter's vision vis-a-vis both relevant debates about creativity, and the broad cultural context in which he operated.

Ranging from Chretien de Troyes to Shakespeare, this study proposes that the chivalric romance is characterized by a centerless structure, a self-conscious fictionality and a sense of irony. The genre's form is tied to historical reality, yet represents the archetype of imaginative literature, creating multifold fantasy worlds which audiences inhabit in denial of their real-life social contexts. Through irony, the romance precludes conclusive interpretations, enjoining readers to confront the suspension of truth in their own lives.

"The Gothic Vision" examines a broad range of tales of horror, terror, the uncanny and the supernatural, spanning the late 18th century to the present, and of related theoretical approaches to the realm of dark writing. It argues that such narratives are objects for historical analysis, due to their implication in specific ideologies, whilst also focusing on the recurrence over time of themes of physical and psychological disintegration, spectrality and monstrosity. Central to the book's argument is the proposition that fear is a ubiquitous phenomenon, capable of awakening consciousness even as it appears to paralyse it.

Hayao Miyazaki has gained worldwide recognition as a leading figure in the history of animation, alongside Walt Disney, Milt Kahl, Tex Avery, Chuck Jones, Yuri Norstein and John Lasseter. In both his films and his writings, Miyazaki invites us to reflect on the unexamined beliefs that govern our lives. His eclectic body of work addresses compelling philosophical and political questions and demands critical attention. This study examines his views on contemporary culture and economics from a broad spectrum of perspectives, from Zen and classical philosophy and Romanticism, to existentialism, critical theory, poststructuralism and psychoanalytic theory.

Once a favorite of mainly art house audiences, Hayao Miyazaki's films have enjoyed increasing exposure in the West since his Spirited Away won the Oscar for Best Animated Feature in 2003. The award signaled a turning point for Miyazaki's Studio Ghibli, bringing his films prominence in the media and driving their distribution in multiple formats. This book explores the closing decade of Miyazaki's career (2004-2013), providing a close study of six feature films to which he contributed, including three he directed (Howl's Moving Castle, Ponyo and The Wind Rises). Seven short films created for exclusive screening at Tokyo's Ghibli Museum are also covered, four of which were directed by Miyazaki.

This study addresses the relationship between Japanese aesthetics, a field steeped in philosophy and traditional knowledge, and anime, a prominent part of contemporary popular culture. There are three premises: (1) the abstract concepts promoted by Japanese aesthetics find concrete expression at the most disparate levels of everyday life; (2) the abstract and the concrete coalesce in the visual domain, attesting to the visual nature of Japanese culture at large; and (3) anime can help us appreciate many aspects of Japan's aesthetic legacy, in terms of both its theoretical propositions and its visual, even tangible, aspects.

Since its debut manga RG Veda, CLAMP has steadily asserted itself as one of the most widely renowned teams of manga artists, leaving a durable imprint in every established genre while also devising novel formulas along the way. Endowed not only with stylistic distinctiveness but also comprehensive cultural structure, CLAMP's output is distinguished by unique worldbuilding ?air and visual vitality. Exploring a selection of CLAMP manga as well as anime it inspired, this volume examines CLAMP's broader philosophical underpinnings, its dedication to the invention of elaborate narrative constructs, its legendary passion for multilayered universes, and its symbolic interpretation of human identity. Throughout, the work highlights the team's incremental creation of a graphic constellation of unparalleled appeal.

Anime, hand-drawn or computer-animated Japanese cartoons, appears in television series, films, video, video games, and commercials, and represents most genres of fiction. This critical study explores anime's relationship with art from a twofold perspective. Drawing from categories as varied as romance, comedy, slice of life drama, science fiction, bildungsroman, and school drama, it examines anime's representation of characters pursuing diverse artistic activities and related aesthetic visions, focusing closely on the concepts of creativity, talent, expressivity and experimentation. Additionally, the analysis engages with anime's own artistry, proposing that those characters' endeavors provide metaphors for the aims and objectives pursued by anime itself as an evolving art form. While focused on anime, the cross-cultural resonance of this work makes it relevant not only to anime fans and scholars, but also to those interested in the phenomenon of image-making.

The topos of memory has played a significant role in anime over the course of its evolution as an art form and as a popular form of entertainment. Anime's handling of memory is multifaceted, bringing it into collusion with diverse symbolic motifs, narrative themes, and aesthetic issues. This study aims to provide a detailed analysis of a range of anime titles wherein different aspects of this cultural phenomenon are articulated. It explores anime films and series which exemplify the distinctive signatures placed by particular directors or studios on the treatment of memory, while also highlighting the prominence of memory in anime with reference to specific philosophical, artistic, and historical contexts.

Kyoto Animation is a studio that, having risen from very humble beginnings, has gained recognition the world over as a uniquely inspired and inventive enterprise. This book examines Kyoto Animation's philosophy and creative vision with close reference to its anime. It focuses on the studio's choice of genres, themes and imagery while exploring its maintenance of high production values. The analysis highlights the studio's commitment to the pursuit of both artistic excellence and technical experimentation--and its reliance on the imagination and expertise of in-house staff.

Exploring a selection of anime adaptations of famous works of both Eastern and Western provenance, this book is concerned with appreciating their significance and appeal as autonomous textual formations. The book evaluates three core facets of anime adaptation--how anime adaptations contribute to their original sources in stylistic, aesthetic, and psychological terms; how specific features of the anime medium impact alchemically on the original sources to bring into being imaginative works of autonomous nature; and which qualities render an adaptation in anime form a distinctly separate, unique artistic creation.

This book describes the thematic and structural traits of a recent and popular development within the realm of anime: series adapted from visual novels. Visual novels are interactive fiction games in which players creatively control decisions and plot turning points. Endings alter according to the player's choices, providing a motivation to replay the game and opt for alternative decisions each time. Pictorial sumptuousness, plot depth and subtle characterization are vital aspects of the medium. Anime based on visual novels capitalize on the parent games' attributes, yielding thought-provoking yarns and complex personalities.

Formed by a small group of university students in the early 1980s, Studio Gainax is now one of the most adventurous and widely esteemed anime companies on the scene. Although the company's immense popularity is a factor that of itself could justify a study of its members and their diverse creations, the studio is even more intriguing for its unique approach to animation. Formal experimentation, genre-straddling, self-reflexivity, unpredictable plot twists, a gourmet palate for stylishness, proverbially controversial endings, and a singularly iconoclastic world view are some of the hallmarks of Gainax's output.This documentation of the studio's achievements provides a critical overview of both the company and its prolific catalog of films. It begins by detailing Gainax's rise to success, outlining the most salient aspects of the company's professional development and assessing the studio's distinctive aesthetic vision. Next follow in-depth examinations of particular Gainax titles that best represent the company's overall work, including television series such as ""Nadia: The Secret of Blue Water"" and ""Neon Genesis Evangelion"", and feature films such as ""Royal Space Force: The Wings of Honneamise"" and ""Gunbuster vs. Diebuster"". Each chapter highlights the specific contribution made by a production to the progressive evolution of the company's mission. A final chapter offers a panoramic recapitulation of Gainax's impact on the world of anime, with a focus on the studio's aesthetic and ethical priorities.

The thought-provoking, aesthetically pleasing animated films of Hayao Miyazaki attract audiences well beyond the director's native Japan. "Princess Mononoke" and "Spirited Away" were critically acclaimed upon U.S. release, and the earlier "My Neighbor Totoro" and "Kiki's Delivery Service" have found popularity with Americans on DVD. This critical study of Miyazaki's work begins with an analysis of the visual conventions of manga, Japanese comic books, and anime; an overview of Japanese animated films; and a consideration of the techniques deployed by both traditional cell and computer animation. This section also details Miyazaki's early forays into comic books and animation, and his output prior to his founding of Studio Ghibli. Part Two concentrates on the Studio Ghibli era, outlining the company's development and analyzing the director's productions between 1984 and 2004, including "Castle in the Sky", "My Neighbor Totoro" and his newest film, "Howl's Moving Castle". The second section also discusses other productions involving Studio Ghibli, including "Grave of the Fireflies" and "The Cat Returns". Appendices supply additional information about Studio Ghibli's merchandise production, Miyazaki's global fan base, and the output of other Ghibli directors.

"French Feminist Theory" offers an introduction to the key concepts and themes in French feminist thought, both the materialist and the linguistic/psychoanalytic traditions. These are explored through the work of a wide range of theorists. The book outlines the philosophical and political diversity of French feminism, setting developments in the field in the particular cultural and social contexts in which they have emerged and unfolded. The principal areas covered are: ongoing debates on the cultural construction and definition of sexual and gendered identities; the relationship between subjectivity and language; the roles played by both private and public institutions in the shaping of sexual relations; the issue of embodiment; and the relationship between gender, sexuality and race. Finally, the book traces the connections between French and Anglo-American feminist approaches and methodologies.

Nuestro lugar en el mundo esta determinado por como lo vemos. Ver el mundo como seres conscientes significa entender como las imagenes fueron construidas con sentidos determinados y en cada tiempo en particular. Al usar imagenes, las imagenes nos hacen a n

Cyberpunk is the fiction of a culture saturated by electronic technology. Its vocabulary is the language of cybernetics, biotechnology, corporational greed and urban subcultures. Massively successful in both book and film form, cyberpunk has redefined not only contemporary science fiction but also, through its capacity to anticipate technology and its cultural impact, analytical work in the social sciences and humanities.

Cyberpunk and Cyberculture explores the work of a wide range of writers -- Acker, Cadigan, Rucker, Shirley, Sterling, Williams and, of course, Gibson -- setting their work in the context of science fiction, other literary genres, genre cinema -- from Metropolis to Terminator to The Matrix -- and contemporary work on the culture of technology.

Seven main themes are addressed: the impact of virtual technologies on identity, space and community; the interplay of technological and mythological motifs; reconfigurations of the body initiated by technoscience; issues of gender and sexuality; the significance of the sprawling megacity; cyberpunk's Gothic traits of monstrosity; transgression and social unrest; and the editing of history and memory. This is a major effort to address how present day culture has been impacted by a new generation as well as a new technology.

The body has been the focus of much recent critical attention, but the clothed body less so. In answering the need to theorize dress, this book provides an overview of recent scholarship and presents an original theory of what dress means in relation to the body. Identity relies on boundaries to individuate the self. Dress challenges boundaries: it frames the body and serves both to distinguish and connect self and 'Other'. The authors argue that clothing is, then, both a boundary and not a boundary, that it is ambiguous and produces a complex relation between self and 'not self'. In examining the role of dress in social structures, the authors argue that clothing can be seen as both restricting and liberating individual and collective identity. In proposing that dress represents 'a deep surface, ' a manifestation of the unconscious at work through apparently superficial phenomena, the book also questions the relationship between surface and depth and counters the notion of dress as disguise or concealment. The concept of the gaze and the role of gender are approached through a discussion of masks and veils. The authors argue that masks and veils paradoxically combine concealment and revelation, 'truth' and 'deception'. Here the body and dress are both seen as forms of absence, with dress concealing not the body, but the absence of the physical body.This provocative book is certain to become a landmark text for anyone interested in the intersection of dress, the body and critical theory.

This radical, new book brings together the key concepts, issues and debates in critical and cultural theory today. Each chapter presents a self-contained analysis of each concept as well providing a range of discussion questions and further reading. Throughout, text-links connect related material across chapters, enabling the reader to pursue their own line of disciplinary or cross-disciplinary inquiry.>

Angela Carter, a prolific author who worked in numerous genres, remains one of the most important British writers of the last century. She was particularly renowned for her interrogation of cultural mythologies, which shape our lives but which we often leave unexamined. This text explores a selection of Carter's novels and short stories, supplemented with her perspectives on politics, society, aesthetics, and her attempts to redefine established popular genres such as the fairy tale. This critical work is a strong addition to the study of this important, but often overlooked, writer.

The Gothic Vision examines a broad range of tales of horror, terror, the uncanny and the supernatural, spanning the late eighteenth century to the present, and of related theoretical approaches to the realm of dark writing. Dani Cavallaro argues that such narratives are objects for historical analysis, due to their implication in specific ideologies, while also focusing on the recurrence over time of themes of physical and psychological disintegration, spectrality and monstrosity. Central to the book's argument is the proposition that fear is a ubiquitous phenomenon, capable of awakening consciousness even as it appears to paralyze it.