This book considers melancholy as an assemblage, as a network of dynamic, interpretive relationships between persons, bodies, texts, spaces, structures, and things. In doing so, it parts ways with past interpretations of melancholy. Tilting the English Renaissance against the present moment, Daniel argues that the basic disciplinary tension between medicine and philosophy persists within contemporary debates about emotional embodiment. To make this case, the book binds together the paintings of Nicholas Hilliard and Isaac Oliver, the drama of Shakespeare, the prose of Burton, and the poetry of Milton. Crossing borders and periods, Daniel combines recent theories which have--until now--been regarded as incongruous by their respective advocates. Asking fundamental questions about how the experience of emotion produces community, the book will be of interest to scholars of early modern literature, psychoanalysis, the affective turn, and continental philosophy.

This IMA Volume in Mathematics and its Applications PARTICULATE FLOWS: PROCESSING AND RHEOLOGY is based on the proceedings of a very successful one-week workshop with the same title, which was an integral part of the 1995-1996 IMA program on "Mathematical Methods in Materials Science." We would like to thank Donald A. Drew, Daniel D. Joseph, and Stephen L. Passman for their excellent work as organizers of the meeting. We also take this opportunity to thank the National Science Foun dation (NSF), the Army Research Office (ARO) and the Office of Naval Research (ONR), whose financial support made the workshop possible. A vner Friedman Robert Gulliver v PREFACE The workshop on Particulate Flows: Processing and Rheology was held January 8-12, 1996 at the Institute for Mathematics and its Applications on the University of Minnesota Twin Cities campus as part of the 1995- 96 Program on Mathematical Methods in Materials Science. There were about forty participants, and some lively discussions, in spite of the fact that bad weather on the east coast kept some participants from attending, and caused scheduling changes throughout the workshop. Heterogeneous materials can behave strangely, even in simple flow sit uations. For example, a mixture of solid particles in a liquid can exhibit behavior that seems solid-like or fluid-like, and attempting to measure the "viscosity" of such a mixture leads to contradictions and "unrepeatable" experiments. Even so, such materials are commonly used in manufacturing and processing."

Consulting an extensive archive of early modern literature, Joy of the Worm asserts that voluntary death in literature is not always a matter of tragedy. In this study, Drew Daniel identifies a surprisingly common aesthetic attitude that he calls "joy of the worm," after Cleopatra's embrace of the deadly asp in Shakespeare's play-a pattern where voluntary death is imagined as an occasion for humor, mirth, ecstatic pleasure, even joy and celebration. Daniel draws both a historical and a conceptual distinction between "self-killing" and "suicide." Standard intellectual histories of suicide in the early modern period have understandably emphasized attitudes of abhorrence, scorn, and severity toward voluntary death. Daniel reads an archive of literary scenes and passages, dating from 1534 to 1713, that complicate this picture. In their own distinct responses to the surrounding attitude of censure, writers including Shakespeare, Donne, Milton, and Addison imagine death not as sin or sickness, but instead as a heroic gift, sexual release, elemental return, amorous fusion, or political self-rescue. "Joy of the worm" emerges here as an aesthetic mode that shades into schadenfreude, sadistic cruelty, and deliberate "trolling," but can also underwrite powerful feelings of belonging, devotion, and love.

Consulting an extensive archive of early modern literature, Joy of the Worm asserts that voluntary death in literature is not always a matter of tragedy. In this study, Drew Daniel identifies a surprisingly common aesthetic attitude that he calls "joy of the worm," after Cleopatra's embrace of the deadly asp in Shakespeare's play-a pattern where voluntary death is imagined as an occasion for humor, mirth, ecstatic pleasure, even joy and celebration. Daniel draws both a historical and a conceptual distinction between "self-killing" and "suicide." Standard intellectual histories of suicide in the early modern period have understandably emphasized attitudes of abhorrence, scorn, and severity toward voluntary death. Daniel reads an archive of literary scenes and passages, dating from 1534 to 1713, that complicate this picture. In their own distinct responses to the surrounding attitude of censure, writers including Shakespeare, Donne, Milton, and Addison imagine death not as sin or sickness, but instead as a heroic gift, sexual release, elemental return, amorous fusion, or political self-rescue. "Joy of the worm" emerges here as an aesthetic mode that shades into schadenfreude, sadistic cruelty, and deliberate "trolling," but can also underwrite powerful feelings of belonging, devotion, and love.

Erstmals im deutschsprachigen Raum wird die Lebenswirklichkeit von Menschen, deren AElterwerden mit gesundheitlichen und gesellschaftlichen Stigmata verbunden ist, systematisch in den Blick genommen. Menschen mit Migrationshintergrund oder Behinderung, mit chronischen Erkrankungen wie HIV/Aids, mit langjahriger Drogen- oder Psychoseerfahrung, schwul, lesbisch oder trans* lebende Menschen weisen im Alter aufgrund ihrer Zugehoerigkeit zu einer stigmatisierten Gruppe spezifische psychosoziale Bedarfe auf. In dem Sammelband werden diese Bedarfe anhand aktueller Forschungs- und Praxisbefunde adressiert und innovative Perspektiven eines selbstbestimmten Alterns aufgezeigt.

This book considers melancholy as an “assemblage,” as a network of dynamic, interpretive relationships between persons, bodies, texts, spaces, structures, and things. In doing so, it parts ways with past interpretations of melancholy. Tilting the English Renaissance against the present moment, Daniel argues that the basic disciplinary tension between medicine and philosophy persists within contemporary debates about emotional embodiment. To make this case, the book binds together the paintings of Nicholas Hilliard and Isaac Oliver, the drama of Shakespeare, the prose of Burton, and the poetry of Milton. Crossing borders and periods, Daniel combines recent theories that have—until now—been regarded as incongruous by their respective advocates. Asking fundamental questions about how the experience of emotion produces community, the book will be of interest to scholars of early modern literature, psychoanalysis, the affective turn, and continental philosophy.

Drew Daniel explores the album's multiple agendas: a series of close readings of each song, with key concepts, strategies, and contexts.Previous writings about Throbbing Gristle have tended to dissolve into lurid half-truths about deviance on and offstage; their actual recordings, lyrics and images have received comparatively slim analysis. Yet their work informs a broad range of music which draws inspiration from TG's arcane, deliberately misleading example: not just 'industrial' music but also synth-pop, the lounge revival, the noise scene, techno and the English esoteric underground - they can all trace their debts to Throbbing Gristle. "Twenty Jazz Funk Greats" (a deliberately 'inconsistent' album) explains why.Drew Daniel creates an exploded view of the album's multiple agendas: a series of close readings of each song, shot through with a sequence of thematic entries on key concepts, strategies and contexts. For example, noise, leisure, process, the abject, information, and repetition. The book will argue that on Twenty Jazz Funk Greats, Throbbing Gristle modelled a critically new and highly promiscuous way of relating to or inhabiting musical genre - where punk rock was passionate and direct, TG were arch and mysterious, perverse and cold. Drew has interviewed all four members of the band."Thirty-Three and a Third" is a series of short books about critically acclaimed and much-loved albums of the past 40 years. By turns obsessive, passionate, creative and informed, the books in this series demonstrate many different ways of writing about music.

Querying Consent examines the ways in which the concept of consent is used to map and regulate sexual desire, gender relationships, global positions, technological interfaces, relationships of production and consumption, and literary and artistic interactions. From philosophy to literature, psychoanalysis to the art world, the contributors to Querying Consent address the most uncomfortable questions about consent today. Grounded in theoretical explorations of the entanglement of consent and subjectivity across a range of textual, visual, multi- and digital media, Querying Consent considers the relationships between consent and agency before moving on to trace the concept's outcomes through a range of investigations of the mutual implication of personhood and self-ownership.