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"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.
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.
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.
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Creative Evolution (Hardcover)
Henri Bergson; Translated by Donald Landes; Foreword by Elizabeth Grosz
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R1,683
Discovery Miles 16 830
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Ships in 9 - 15 working days
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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.
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
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.'
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.'
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.
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.
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
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.
In "Becoming Undone," Elizabeth Grosz addresses three related
concepts--life, politics, and art--by exploring the implications of
Charles Darwin's account of the evolution of species. Challenging
characterizations of Darwin's work as a form of genetic
determinism, Grosz shows that his writing reveals an insistence on
the difference between natural selection and sexual selection, the
principles that regulate survival and attractiveness, respectively.
Sexual selection complicates natural selection by introducing
aesthetic factors and the expression of individual will, desire, or
pleasure. Grosz explores how Darwin's theory of sexual selection
transforms philosophy, our understanding of humanity in its male
and female forms, our ideas of political relations, and our
concepts of art. Connecting the naturalist's work to the writings
of Bergson, Deleuze, and Irigaray, she outlines a postmodern
Darwinism that understands all of life as forms of competing and
coordinating modes of openness. Although feminists have been
suspicious of the concepts of nature and biology central to
Darwin's work, Grosz proposes that his writings are a rich resource
for developing a more politicized, radical, and far-reaching
feminist understanding of matter, nature, biology, time, and
becoming.
Feminist Time Against Nation Time offers a series of essays that
explore the complex and oftentimes contradictory relationship
between feminism and nationalism through a problematization of
temporality. Although there has been much recent discussion in the
U.S. of the wars in Afghanistan and Iraq and the "War on Terror" as
signaling a new period of "permanent war," feminist voices have not
been at all prominent in this discussion. This collection considers
not only the ways in which public spaces for dissent are limited,
but also the ways in which the time for such dissent is cut short.
Feminist Time Against Nation Time combines philosophical
examinations of "Women's Time" by Julia Kristeva and "The Time of
Thought" by Elizabeth Grosz, with essays offering case studies of
particular events, including Kelly Oliver's essay on the media
coverage of the U.S. wars on terror and in Afghanistan and Iraq,
and Betty Joseph's on the anti-colonial uses of "women's time" in
the creation of nineteenth-century Indian nationalism. Feminist
Time Against Nation Time juxtaposes feminist time against nation
time in order to consider temporalities that are at once contrary
to, but also drawing toward each other. Yet Hesford and Diedrich
also argue that because, as an untimely project, feminism
necessarily operates in a different temporality from that of the
nation, against-ness is also used to provoke a rupture, a momentary
opening up of a disjuncture between the two that will allow us to
explore the possibilities of creating a space and time for
feminists to think against the current of the present moment.
While concepts of time underlie many of the central projects of
feminist theory, law and justice, and the natural sciences as well
as ideas about political struggle, temporality is rarely their
direct object of analysis. In her essays brought together in this
volume, Elizabeth Grosz moves questions about time and duration to
the fore in order to explore how rethinking temporality might
transform and revitalize key scholarly and political projects.
Dealing with time in relation to topics ranging from female
sexuality to conceptions of power to understandings of cultural
studies, these essays reveal Grosz's advocacy of a politics of
invention, a politics that cannot be mapped out in advance--one
that is more invested in processes than in results. of nature,
culture, subjectivity, and politics are wide-ranging. She moves
from a compelling argument that Charles Darwin's notion of
biological and cultural evolution can potentially benefit feminist,
queer, and antiracist agendas to an exploration of modern
jurisprudence's reliance on the sense that the future is always
beyond reach. She examines Henri Bergson's philosophy of duration
in light of the writings of Gilles Deleuze, Maurice Merleau-Ponty,
and William James, and she discusses issues of sexual difference,
identity, pleasure, and desire in relation to the thought of
Friedrich Nietzsche, Michel Foucault, Deleuze, and Luce Irigaray.
Together, these essays demonstrate the broad scope and
applicability of Grosz's thinking about time as an under-theorized
but uniquely productive force.
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