In Dialogue with Godot: Waiting and Other Thoughts, edited by Ranjan Ghosh, PhD, puts together thirteen new essays on Beckett s most popular and widely read play, Waiting for Godot. Chapters are envisaged as dialogues with Godot, keeping in mind the event of waiting and other issues related to this Godot-Waiting phenomenon. The merit of this book lies in exploring this play from thirteen fresh perspectives introducing some important themes that have not been dealt previously. Contributors explore the play in reference to topics as varied as Hindu philosophy, Agamben, Kristeva, Derrida, the absence of women in the play, Aristotleanism in structural reading, and anti-existentialism. Essays ask, can we make claims to read this play outside the absurd tradition ? Is it an anti-existential play? Can Beckett possibly be Indianised ? How can the dialectic between waiting and delay be problematized? If Beckett was up to de-structure conventional modes of drama-writing, what connection could he possibly have with Aristotle and his normative modes? Can the Vladimir-Estragon relationship be critiqued psychoanalytically? Can questions of political commitment be challenged anew, resisting easy propositions to considering it a Resistance play? Can the Godot / Resistance collocation be examined through torture (the series of beatings that structures the play), through relationship (the pseudo-couple), and finally through language (the insistent coupling of violence and meaning)? In Dialogue with Godot offers a refreshingly new and varied approach to Samuel Beckett s most popular play."

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This charming book is full of questions for little children to answer. With lots of fun details to talk about, children will love exploring the illustrations and spotting the answers to the questions, from "Who's playing hide and seek?" to "Who has a yellow beak?"

This adorable book for babies and toddlers is full of fun rhyming questions to answer and charming illustrations. Little ones will love looking at the pictures and discovering which animal is wearing a hat, which dog is chasing a ball and much more. A lovely book to enjoy together.

In exploring the nature of excess relative to a phenomenology of the limit, Testing the Limit claims that phenomenology itself is an exploration of excess. What does it mean that "the self" is "given"? Should we see it as originary; or rather, in what way is the self engendered from textual practices that transgress—or hover around and therefore within—the threshold of phenomenologial discourse? This is the first book to include Michel Henry in a triangulation with Derrida and Levinas and the first to critique Levinas on the basis of his interpolation of philosophy and religion. Sebbah claims that the textual origins of phenomenology determine, in their temporal rhythms, the nature of the subjectivation on which they focus. He situates these considerations within the broader picture of the state of contemporary French phenomenology (chiefly the legacy of Merleau-Ponty), in order to show that these three thinkers share a certain "family resemblance," the identification of which reveals something about the traces of other phenomenological families. It is by testing the limit within the context of traditional phenomenological concerns about the appearance of subjectivity and ipseity that Derrida, Henry, and Levinas radically reconsider phenomenology and that French phenomenology assumes its present form.

Who's wearing blue socks? Who's friends with the fox? This adorable book is full of rhyming questions for little children to answer by looking at and talking about the charming illustrations. A lovely way to encourage young children to talk and form sentences, and a delightful book to enjoy together.

In Dialogue with Godot: Waiting and Other Thoughts, Ranjan Ghosh puts together thirteen new essays on Beckett's most popular and widely read play, Waiting for Godot. Chapters are envisaged as dialogues with Godot, keeping in mind the event of waiting and other issues related to this Godot-Waiting phenomenon. The merit of this book lies in exploring this play from thirteen fresh perspectives introducing some important themes that have not been dealt previously. Contributors explore the play in reference to topics as varied as Hindu philosophy, Agamben, Kristeva, Derrida, the absence of women in the play, Aristotleanism in structural reading, and anti-existentialism. Essays ask, can we make claims to read this play outside the "absurd tradition?" Is it an anti-existential play? Can Beckett possibly be "Indianized?" How can the dialectic between "waiting" and "delay" be problematized? If Beckett was up to de-structure conventional modes of drama-writing, what connection could he possibly have with Aristotle and his normative modes? Can the Vladimir-Estragon relationship be critiqued psychoanalytically? Can questions of political commitment be challenged anew, resisting easy propositions to considering it a Resistance play? Can the Godot / Resistance collocation be examined through torture (the series of beatings that structures the play), through relationship (the pseudo-couple), and finally through language (the insistent coupling of violence and meaning)? In Dialogue with Godot offers a refreshingly new and varied approach to Samuel Beckett's most popular play.

"Disorientation" is the first publication in English of the second volume of "Technics and Time," in which French philosopher Bernard Stiegler engages in a close dialogue with Husserl, Derrida, and other philosophers who have devoted their energies to technics, such as Heidegger and Simondon.The author's broad intent is to respond to Western philosophy's historical exclusion of technics and techniques from its metaphysical questionings, and in so doing to rescue critical and philosophical thinking. For many years, Stiegler has explored the origins and philosophical, ethical, and political stakes of a global process he calls "the industrial temporalization of consciousness." Here, demonstrating that technology--including alphabetical writing--is memory, he argues that through new technologies of retention and inscription we have come to live in a world where time devours space, a disoriented world in which we have lost our bearings. Immersed in the multimedia of an over-connected world, with time and space as we know them abolished, we no longer find "cardinal points" to guide us and may even be led where we do not wish to go. We must therefore prepare to confront new spheres of ideological control and discover new possibilities in the digital environment.

In the first two volumes of "Technics and Time," Bernard Stiegler worked carefully through Heidegger's and Husserl's relationship to technics and technology. Here, in volume three, he turns his attention to the prolematic relationship to technics he finds in Kant's "Critique of Pure Reason," particularly in the two versions of the Transcendental Deduction. Stiegler relates this problematic to the "cinematic nature" of time, which precedes cinema itself but reaches an apotheosis in it as the "exteriorization process" of schema, through tertiary retentions and their mechanisms. The book focuses on the relationship between these themes and the "culture industry"-- as defined by Adorno and Horkheimer--that has supplanted the educational institutions on which genuine cultural participation depends. This displacement, Stiegler says, has produced a malaise from which current global culture suffers. The result is potentially catastrophic.

Dramas of Culture is shaped by twelve carefully interwoven interdisciplinary essays on the role of performance as inscribed within contemporary cultural debate. Part One addresses the recent cultural turn in scholarship and public affairs and offers three provocative discussions of its genealogy, goals, and shortcomings. Underpinning these arguments are the key dramatic elements of language, performativity, and spectacle. Part Two stresses the constitutive roles of scene and setting, melodrama, and tragic conflict for literary theory, political thought, and dialectical philosophy, each with direct bearings on contemporary cultural studies. Parts Three and Four turn to the intellectual and cultural significance of specific plays in the Western repertoire. Part Three examines several major efforts to rethink the nature of tragedy as a dramatic genre, emphasizing its capacity to reveal the fragility and provisionality of culture, while Part Four focuses on prominent examples of the shifting relations among drama, history, and processes of cultural change.

In the first two volumes of "Technics and Time," Bernard Stiegler worked carefully through Heidegger's and Husserl's relationship to technics and technology. Here, in volume three, he turns his attention to the prolematic relationship to technics he finds in Kant's "Critique of Pure Reason," particularly in the two versions of the Transcendental Deduction. Stiegler relates this problematic to the "cinematic nature" of time, which precedes cinema itself but reaches an apotheosis in it as the "exteriorization process" of schema, through tertiary retentions and their mechanisms. The book focuses on the relationship between these themes and the "culture industry"-- as defined by Adorno and Horkheimer--that has supplanted the educational institutions on which genuine cultural participation depends. This displacement, Stiegler says, has produced a malaise from which current global culture suffers. The result is potentially catastrophic.

"Disorientation" is the first publication in English of the second volume of "Technics and Time," in which French philosopher Bernard Stiegler engages in a close dialogue with Husserl, Derrida, and other philosophers who have devoted their energies to technics, such as Heidegger and Simondon.The author's broad intent is to respond to Western philosophy's historical exclusion of technics and techniques from its metaphysical questionings, and in so doing to rescue critical and philosophical thinking. For many years, Stiegler has explored the origins and philosophical, ethical, and political stakes of a global process he calls "the industrial temporalization of consciousness." Here, demonstrating that technology--including alphabetical writing--is memory, he argues that through new technologies of retention and inscription we have come to live in a world where time devours space, a disoriented world in which we have lost our bearings. Immersed in the multimedia of an over-connected world, with time and space as we know them abolished, we no longer find "cardinal points" to guide us and may even be led where we do not wish to go. We must therefore prepare to confront new spheres of ideological control and discover new possibilities in the digital environment.

• Cased board book format with sound button for added fun! • Fun simple text and bright illustration are stimulating for children. • Learn all about family relationships and friendship building.

In exploring the nature of excess relative to a phenomenology of the limit, Testing the Limit claims that phenomenology itself is an exploration of excess. What does it mean that "the self" is "given"? Should we see it as originary; or rather, in what way is the self engendered from textual practices that transgress-or hover around and therefore within-the threshold of phenomenologial discourse? This is the first book to include Michel Henry in a triangulation with Derrida and Levinas and the first to critique Levinas on the basis of his interpolation of philosophy and religion. Sebbah claims that the textual origins of phenomenology determine, in their temporal rhythms, the nature of the subjectivation on which they focus. He situates these considerations within the broader picture of the state of contemporary French phenomenology (chiefly the legacy of Merleau-Ponty), in order to show that these three thinkers share a certain "family resemblance," the identification of which reveals something about the traces of other phenomenological families. It is by testing the limit within the context of traditional phenomenological concerns about the appearance of subjectivity and ipseity that Derrida, Henry, and Levinas radically reconsider phenomenology and that French phenomenology assumes its present form.

• Cased board book with tabbed pages.
• Gorgeous artwork and text to teach about family relationships.
• Packed with animal facts and information.

The first exciting book of the 'Spirits Bay' stories - a time-twisting tale set in New Zealand past and present. Ana is riding a wave into the future. Tom is just struggling to understand the present... and to learn a haka by the end of term. As developers prepare to destroy the peace and quiet of Spirits Bay, Tom and Ana are thrown into an adventure that will test their own courage to the maximum. An adventure where the forces of past and present will collide disastrously as an ancient curse is fulfilled again.

Christopher Edmonds is on a mission to understand his old risk-taking tearaway self. There was an accident; an old man was killed one night when Christo and his mates were out racing cars. Christo got the blame, and a head injury - that means his memory is not the best. Soon he's back on the streets, without his licence and doing community service. 'Deadwater Lane' is a gasoline soaked tale of revenge, gangs, drugs and girls. Though when the pressure goes on Christo finds out the value of loyalty and just doing the right thing.

The exciting sequel to 'The Secret of Spirits Bay', concludes the time-twisting adventures of Tom and Ana in New Zealand. With the precious Staff of Solomon stolen, Tom embarks on a perilous search for his missing friend Ana. A search that leads him to England and then finally back to Aotearoa once more. Meanwhile ancient forces from the past still influence Tom; though he may be the only one able to stop the terrible destructive forces of the mysterious stone held in the Staff of Solomon.

• Cased board book with tabbed pages.
• Gorgeous artwork and text to teach about family relationships.
• Packed with animal facts and information.

Dramas of Culture is shaped by twelve carefully interwoven interdisciplinary essays on the role of performance as inscribed within contemporary cultural debate. Part One addresses the recent cultural turn in scholarship and public affairs and offers three provocative discussions of its genealogy, goals, and shortcomings. Underpinning these arguments are the key dramatic elements of language, performativity, and spectacle. Part Two stresses the constitutive roles of scene and setting, melodrama, and tragic conflict for literary theory, political thought, and dialectical philosophy, each with direct bearings on contemporary cultural studies. Parts Three and Four turn to the intellectual and cultural significance of specific plays in the Western repertoire. Part Three examines several major efforts to rethink the nature of tragedy as a dramatic genre, emphasizing its capacity to reveal the fragility and provisionality of culture, while Part Four focuses on prominent examples of the shifting relations among drama, history, and processes of cultural change.