Introducing the work of three French feminists - Julia Kristeva, Luce Irigaray and Michele L Doeuff - "Sexual Subversions" provides access to the work of these writers. In doing so this book raises some key issues of relevance to feminist research, addressing debates around the nature of feminist theory; the relationship between feminist thinking theory; the relationship between feminist thinking and male-dominatd areas of knowledge; the strategies appropriate for developing non-patriarchal or woman-centred knowledges.;While Kristeva, Irigaray and Le Doeuff do not present a common political or theoretical position, each usefully highlights the differences of the others. Each addresses the questions of women's autonomy from male definition, seeking out a femininity women can use to question patriarchy norms and reject the pre-ordained positions partriarchy allots to woman.;No book on French feminists would be complete without including the contributions of Kristeva and Irigaray. The inclusion of Le Doeuff's work, which brings a different perspective to bear on the question of sexual difference, provides a counterbalance to literary appropriations of French feminism by Anglo--American readerships. Kristeva, Irigaray and Le Doeuff are the focal points of this study, precisely because each highlights the differences of the others, revealing the frameworks to which the others are committed. Nevertheless, while these writers do not present a common political or theoretical position or form a school, each does address the question of women's autonomy from male definition, affirms the sexual specificity of women, seeks out a feminity women can use to question the patriarchal norms and ideals of feminity and rejects the preordained positions patriarchy allots to woman.;"Elizabeth Grosz teaches philosophy at the University of Sydney and is the author of a forthcoming study of Jacques Lacan. Among the many works to which she has contributed are "Feminist challenges" and "Crossing boundaries" (both Allen & Unwin).".;This book is intended for students and researchers in women's studies , philosophy and feminism.

"The location of the author's investigations, the body itself rather than the sphere of subjective representations of self and of function in cultures, is wholly new. . . . I believe this work will be a landmark in future feminist thinking." —Alphonso Lingis "This is a text of rare erudition and intellectual force. It will not only introduce feminists to an enriching set of theoretical perspectives but sets a high critical standard for feminist dialogues on the status of the body." —Judith Butler Volatile Bodies demonstrates that the sexually specific body is socially constructed: biology or nature is not opposed to or in conflict with culture. Human biology is inherently social and has no pure or natural "origin" outside of culture. Being the raw material of social and cultural organization, it is "incomplete" and thus subject to the endless rewriting and social inscription that constitute all sign systems. Examining the theories of Freud, Lacan, Merleau-Ponty, Foucault, Deleuze, Derrida, etc. on the subject of the body, Elizabeth Grosz concludes that the body they theorize is male. These thinkers are not providing an account of "human" corporeality but of male corporeality. Grosz then turns to corporeal experiences unique to women—menstruation, pregnancy, childbirth, lactation, menopause. Her examination of female experience lays the groundwork for developing theories of sexed corporeality rather than merely rectifying flawed models of male theorists.

Ecotoxicology, New Challenges and New Approaches provides the latest in new challenges for research in ecotoxicology. In six comprehensive chapters, the book deals with the long term effect of stressors on biological communities, the effect of pollutants on the chemical communication among organisms, the impact of multiple stressors and of emerging pollutants (microplastics), and at the use of new technologies (omics) in ecotoxicology.

Grosz gives a critical overview of Lacan's work from a feminist perspective. Discussing previous attempts to give a feminist reading of his work, she argues for women's autonomy based on an indifference to the Lacanian phallus.

Sexual Subversions introduces the works of three well known, if not well-read, French feminists: Julia Kristeva, Luce Irigaray and Micele Le Doeuff. It provides a map of an area where there are few detailed discussion of the achievements of these difficult, yet immensely rewarding, writers. In doing so, this overview raises issues of general relevance to feminist research: it participates in debates around the nature of feminist theory, the relations feminist intellectuals have to male dominated knowledges, and the strategies appropriate for developing non patriarchal, autonomous or woman-centred knowledges. No book in French feminists would be complete without including the contributions of Kristeva and Irigaray. The inclusion of Le Deouff's work, which brings a different perspective to bear on the question of sexual difference, provides a counterbalance to literary appropriations of French feminism by Anglo-American readerships. Kristeva, Irigaray and Le Deouff are the focal points of this study, precisely because each highlights the differences of the others, revealing the frameworks to which the others are committed. Nevertheless, while these writers do not present a common political or theoretical position or form a school, each addresses the question of women's autonomy from male definition, affirms the sexual specificity of women, seeks out a femininity women can use to question the patriarchal norms and ideals of femininity and rejects the preordained positions patriarchy allots to women.

Space,Time and Perversion marks a ground-breaking moment in the debate surrounding bodies and `body politics'. Elizabeth Grosz both celebrates and resituates the body in the space between feminism and philosophy, feminism and cultural analysis, feminism and critical thought. Exploring architecture, philosophy, and, in a controversial way, queer theory, Elizabeth Grosz shows how these knowledges have stripped bodies of their specificity, their corporeality, and the vestigal traces of their production as bodies. She investigates the work of Michael Foucault, Teresa de Lauretis, Gilles Deleuze, Judith Butler and Alphonso Lingis, examining the ways in which the functioning of bodies transforms understandings of space and time, knowledge and desire.

Are bodies sexy? How, and in what sorts of ways? "Sexy Bodies" investigates the production of sexual bodies and sexual practices, sexualities of all kinds--dyke, bisexual, transracial, even heterosexual. While celebrating lesbian and queer sexualities, "Sexy Bodies" also explores what runs underneath and within "all" sexualities, discovering what is fundamentally strange about all bodies, all carnalities.
Looking at a pleasurable variety of cultural forms and texts, the contributors consider the particular charms of girls and horses, from "National Velvet" to "Marnie"; discuss figures of the lesbian body, from vampires to tomboys; uncover "virtual" lesbians in the fiction of Jeanette Winterson; track desire in the music of legendary Blues singers; and investigate the ever-scrutinized and celebrated body of Elizabeth Taylor. The collection also includes two important pieces of fiction byMary Fallon and Nicole Brossard.
"Sexy Bodies" makes new connections between and among bodies, cruising the borders of the obscene, the pleasurable, the desirable, and the unspoken, rethinking sexuality anew, as deeply and stangely sexy.
Contributors: Sue Best, Nicole Brossard, Dianne Chisholm, Barbara Creed, Angela Davis, Mary Fallon, Anna Gibbs, Sue Golding, Elizabeth Grosz, Melissa Jane Hardie, Lisa Moore, Chantal Nadeau, Elspeth Probyn, Sabina Sawhney, Catherine Waldby

eBook available with sample pages: 0203133536

When it comes to learning 3-lead ECG interpretation, there's simply no faster or easier way to master basic rhythms than this unique book. Using a fun and easy-to-understand writing style, it uses humor, cartoons, and personal stories to walk you through the entire ECG process - from finding a heartbeat, to monitoring an electrocardiogram, to interpreting the heart rhythm. A unique "Flip and See" section allows you to view normal ECGs on one side of the page and abnormal ECGs on the other, along with concise text that clearly explains the differences between them. In addition, you'll find commonly asked questions and answers throughout the text. Lay-flat spiral binding makes it easy to use anywhere, and the small size fits into a lab coat pocket. Unique Flip and See section at the end of the book allows you to see each rhythm side-by-side with a normal ECG rhythm, while a written walkthrough explains the important differences between the rhythms. Excuse Me! features highlight frequently asked student questions with easy-to-understand answers. Conversational language and clear illustrations and cartoons make the information easy to remember and fun to learn. New and updated information across the entire book includes coverage of new pacemaker strips and now includes 12-lead interpretation and 12-lead axis identification. New cartoons have been added to make key points memorable and entertaining. Updated algorithms reflect the new 2010 ECC Guidelines. Completely redesigned Cohn's Pocket Guide for ECG Interpretation, a plastic heart rate ruler, aids both students and practitioners in rhythm interpretation. Expanded appendix provides illustrations of ECG complexes as they relate to heart damage.

Are bodies sexy? How? In what sorts of ways? Sexy Bodies investigates the production of sexual bodies and sexual practices, of sexualities which are dyke, bi, transracial, and even hetero. It celebrates lesbian and queer sexualities but also explores what runs underneath and within all sexualities, discovering what is fundamentally weird and strange about all bodies, all carnalities.

Looking at a pleasurable variety of cultural forms and texts, the contributors consider the particular charms of girls and horses, from National Velvet to Marnie; discuss figures of the lesbian body from vampires to tribades to tomboys; uncover 'virtual' lesbians in the fiction of Jeanette Winterson; track desire in the music of legendary Blues singers; and investigate the ever-scrutinised and celebrated body of Elizabeth Taylor. The collection includes two important pieces of fiction by Mary Fallon and Nicole Brossard.

Sexy Bodies makes new connections between and amongst bodies, cruising the borders of the obscene, the pleasurable, the desirable and the hitherto unspoken rethinking sexuality anew as deeply and strangely sexy.

In Feminist Challenges, first published in 1987, new and established scholars demonstrate the application of feminism in a range of academic disciplines including history, philosophy, politics, and sociology. As Carole Pateman notes in her introduction, 'all the contributors raise some extremely far-reaching questions about the conventional assumptions and methods of contemporary social and political inquiry.'

Encounters with Alphonso Lingis is the first extensive study of this American philosopher who is gaining an international reputation to augment his national one. Lingis's books have already been translated into nearly a dozen languages, and writers from many disciplines are finding his works a source for fresh philosophical and scholarly inquiries. The distinguished contributors to this volume reflect on their own encounters with this unique American thinker as they engage his work from their various critical perspectives. They address most of the central themes found in his writings including singularity and otherness, death and eroticism, emotions and rationality, embodiment and the face, excess and the sacred. In the book's first section, the contributors discuss Lingis's significance as a contemporary philosopher, particularly with regard to such renowned figures as Dante, Kant, Nietzsche, Foucault, and the major existential and phenomenological thinkers of the past century. In the second section, they focus on Lingis's ideas as the basis for inquiries into additional fields, such as art, literature, cultural studies, and politics. The book closes with a new essay by Lingis himself."

A major new translation of one of the an important philosophical work of the twentieth century, presenting Bergson's masterwork to a new generation of readers This new translation improves enormously on the quality of the previous translation, the only one available since 1911 Includes a host of additional new features, many translated for the first time including a comprehensive table of contents; a translation glossary; letters and reviews by William James, Georges Canguilhelm and Gilles Deleuze; full scholarly notes to each chapter Responses by Bergson to many of these, and many of which have been translated for the first time. Translated by Donald Landes, whose translation of Phenomenology of Perception (Routledge 2011, 2013) has already achieved classic status.

Instead of treating art as a unique creation that requires reason and refined taste to appreciate, Elizabeth Grosz argues that art-especially architecture, music, and painting-is born from the disruptive forces of sexual selection. She approaches art as a form of erotic expression connecting sensory richness with primal desire, and in doing so, finds that the meaning of art comes from the intensities and sensations it inspires, not just its intention and aesthetic.

By regarding our most cultured human accomplishments as the result of the excessive, nonfunctional forces of sexual attraction and seduction, Grosz encourages us to see art as a kind of bodily enhancement or mode of sensation enabling living bodies to experience and transform the universe. Art can be understood as a way for bodies to augment themselves and their capacity for perception and affection-a way to grow and evolve through sensation. Through this framework, which knits together the theories of Charles Darwin, Henri Bergson, Gilles Deleuze, FA(c)lix Guattari, and Jakob von UexkA1/4ll, we are able to grasp art's deep animal lineage.

Grosz argues that art is not tied to the predictable and known but to new futures not contained in the present. Its animal affiliations ensure that art is intensely political and charged with the creation of new worlds and new forms of living. According to Grosz, art is the way in which life experiments with materiality, or nature, in order to bring about change.

In Feminist Challenges, new and established scholars demonstrate the application of feminism in a range of academic disciplines including history, philosophy, politics, and sociology. As Carole Pateman notes in her introduction, 'all the contributors raise some extremely far-reaching questions about the conventional assumptions and methods of contemporary social and political inquiry.'

Philosophy has inherited a powerful impulse to embrace either dualism or a reductive monism-either a radical separation of mind and body or the reduction of mind to body. But from its origins in the writings of the Stoics, the first thoroughgoing materialists, another view has acknowledged that no forms of materialism can be completely self-inclusive-space, time, the void, and sense are the incorporeal conditions of all that is corporeal or material. In The Incorporeal Elizabeth Grosz argues that the ideal is inherent in the material and the material in the ideal, and, by tracing its development over time, she makes the case that this same idea reasserts itself in different intellectual contexts. Grosz shows that not only are idealism and materialism inextricably linked but that this "belonging together" of the entirety of ideality and the entirety of materiality is not mediated or created by human consciousness. Instead, it is an ontological condition for the development of human consciousness. Grosz draws from Spinoza's material and ideal concept of substance, Nietzsche's amor fati, Deleuze and Guattari's plane of immanence, Simondon's preindividual, and Raymond Ruyer's self-survey or autoaffection to show that the world preexists the evolution of the human and that its material and incorporeal forces are the conditions for all forms of life, human and nonhuman alike. A masterwork by an eminent theoretician, The Incorporeal offers profound new insight into the mind-body problem

Philosophy has inherited a powerful impulse to embrace either dualism or a reductive monism-either a radical separation of mind and body or the reduction of mind to body. But from its origins in the writings of the Stoics, the first thoroughgoing materialists, another view has acknowledged that no forms of materialism can be completely self-inclusive-space, time, the void, and sense are the incorporeal conditions of all that is corporeal or material. In The Incorporeal Elizabeth Grosz argues that the ideal is inherent in the material and the material in the ideal, and, by tracing its development over time, she makes the case that this same idea reasserts itself in different intellectual contexts. Grosz shows that not only are idealism and materialism inextricably linked but that this "belonging together" of the entirety of ideality and the entirety of materiality is not mediated or created by human consciousness. Instead, it is an ontological condition for the development of human consciousness. Grosz draws from Spinoza's material and ideal concept of substance, Nietzsche's amor fati, Deleuze and Guattari's plane of immanence, Simondon's preindividual, and Raymond Ruyer's self-survey or autoaffection to show that the world preexists the evolution of the human and that its material and incorporeal forces are the conditions for all forms of life, human and nonhuman alike. A masterwork by an eminent theoretician, The Incorporeal offers profound new insight into the mind-body problem

Instead of treating art as a unique creation that requires reason and refined taste to appreciate, Elizabeth Grosz argues that art-especially architecture, music, and painting-is born from the disruptive forces of sexual selection. She approaches art as a form of erotic expression connecting sensory richness with primal desire, and in doing so, finds that the meaning of art comes from the intensities and sensations it inspires, not just its intention and aesthetic. By regarding our most cultured human accomplishments as the result of the excessive, nonfunctional forces of sexual attraction and seduction, Grosz encourages us to see art as a kind of bodily enhancement or mode of sensation enabling living bodies to experience and transform the universe. Art can be understood as a way for bodies to augment themselves and their capacity for perception and affection-a way to grow and evolve through sensation. Through this framework, which knits together the theories of Charles Darwin, Henri Bergson, Gilles Deleuze, Felix Guattari, and Jakob von Uexkull, we are able to grasp art's deep animal lineage. Grosz argues that art is not tied to the predictable and known but to new futures not contained in the present. Its animal affiliations ensure that art is intensely political and charged with the creation of new worlds and new forms of living. According to Grosz, art is the way in which life experiments with materiality, or nature, in order to bring about change.

In this pathbreaking philosophical work, Elizabeth Grosz points the way toward a theory of becoming to replace the prevailing ontologies of being in social, political, and biological discourse. Arguing that theories of temporality have significant and underappreciated relevance to the social dimensions of science and the political dimensions of struggle, Grosz engages key theoretical concerns related to the reality of time. She explores the effect of time on the organization of matter and on the emergence and development of biological life. Considering how the relentless forward movement of time might be conceived in political and social terms, she begins to formulate a model of time that incorporates the future and its capacity to supersede and transform the past and present.Grosz develops her argument by juxtaposing the work of three major figures in Western thought: Charles Darwin, Friedrich Nietzsche, and Henri Bergson. She reveals that in theorizing time as an active, positive phenomenon with its own characteristics and specific effects, each of these thinkers had a profound effect on contemporary understandings of the body in relation to time. She shows how their allied concepts of life, evolution, and becoming are manifest in the work of Gilles Deleuze and Luce Irigaray. Throughout The Nick of Time, Grosz emphasizes the political and cultural imperative to fundamentally rethink time: the more clearly we understand our temporal location as beings straddling the past and the future without the security of a stable and abiding present, the more transformation becomes conceivable.