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Автор: Limaon Ada, Limon Ada Название: Bright Dead Things: Poems ISBN: 1571314717 ISBN-13(EAN): 9781571314710 Издательство: Неизвестно Рейтинг: Цена: 14710.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание: Bright Dead Things examines the chaos that is life, the dangerous thrill of living in a world you know you have to leave one day, and the search to find something that is ultimately "disorderly, and marvelous, and ours." A book of bravado and introspection, of 21st century feminist swagger and harrowing terror and loss, this fourth collection considers how we build our identities out of place and human contact--tracing in intimate detail the various ways the speaker's sense of self both shifts and perseveres as she moves from New York City to rural Kentucky, loses a dear parent, ages past the capriciousness of youth, and falls in love. Limon has often been a poet who wears her heart on her sleeve, but in these extraordinary poems that heart becomes a "huge beating genius machine" striving to embrace and understand the fullness of the present moment. "I am beautiful. I am full of love. I am dying," the poet writes. Building on the legacies of forebears such as Frank O'Hara, Sharon Olds, and Mark Doty, Limon's work is consistently generous and accessible--though every observed moment feels complexly thought, felt, and lived.
Автор: Limon, John. Название: Stand-up comedy in theory, or, Abjection in America / ISBN: 0822325462 ISBN-13(EAN): 9780822325468 Издательство: Wiley EDC Рейтинг: Цена: 22870.00 T Наличие на складе: Поставка под заказ. Описание:
Stand-Up Comedy in Theory, or, Abjection in America is the first study of stand-up comedy as a form of art. John Limon appreciates and analyzes the specific practice of stand-up itself, moving beyond theories of the joke, of the comic, and of comedy in general to read stand-up through the lens of literary and cultural theory. Limon argues that stand-up is an artform best defined by its fascination with the abject, Julia Kristeva’s term for those aspects of oneself that are obnoxious to one’s sense of identity but that are nevertheless—like blood, feces, or urine—impossible to jettison once and for all. All of a comedian’s life, Limon asserts, is abject in this sense. Limon begins with stand-up comics in the 1950s and 1960s—Lenny Bruce, Carl Reiner, Mel Brooks, Mike Nichols, Elaine May—when the norm of the profession was the Jewish, male, heterosexual comedian. He then moves toward the present with analyses of David Letterman, Richard Pryor, Ellen DeGeneres, and Paula Poundstone. Limon incorporates feminist, race, and queer theories to argue that the “comedification” of America—stand-up comedy’s escape from its narrow origins—involves the repossession by black, female, queer, and Protestant comedians of what was black, female, queer, yet suburbanizing in Jewish, male, heterosexual comedy. Limon’s formal definition of stand-up as abject art thus hinges on his claim that the great American comedians of the 1950s and 1960s located their comedy at the place (which would have been conceived in 1960 as a location between New York City or Chicago and their suburbs) where body is thrown off for the mind and materiality is thrown off for abstraction—at the place, that is, where American abjection has always found its home. As the first study of its kind, Stand-Up Comedy in Theory, or, Abjection in America will appeal to a wide audience including those interested in cultural studies, Jewish studies, gender and queer theory.
Автор: Limon Jose E. Название: Americo Paredes: Culture and Critique ISBN: 0292756828 ISBN-13(EAN): 9780292756823 Издательство: Wiley EDC Рейтинг: Цена: 22870.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание:
Several biographies of Américo Paredes have been published over the last decade, yet they generally overlook the paradoxical nature of his life’s work. Embarking on an in-depth, critical exploration of the significant body of work produced by Paredes, José E. Limón (one of Paredes’s students and now himself one of the world’s leading scholars in Mexican American studies) puts the spotlight on Paredes as a scholar/citizen who bridged multiple arenas of Mexican American cultural life during a time of intense social change and cultural renaissance.
Serving as a counterpoint to hagiographic commentaries, Américo Paredes challenges and corrects prevailing readings by contemporary critics of Paredes’s Asian period and of such works as the novel George Washington Gómez, illuminating new facets in Paredes’s role as a folklorist and public intellectual. Limón also explores how the field of cultural studies has drifted away from folklore, or “the poetics of everyday life,” while he examines the traits of Mexican American expressive culture. He also investigates the scholarly paradigm of ethnography itself, a stimulating inquiry that enhances readings of Paredes’s best-known study, “With His Pistol in His Hand,” and other works. Underscoring Paredes’s place in folklore and Mexican American literary production, the book questions the shifting reception of Paredes throughout his academic career, ultimately providing a deep hermeneutics of widely varied work. Offering new conceptions, interpretations, and perspectives, Américo Paredes gives this pivotal literary figure and his legacy the critical analysis they deserve.
Автор: Limon John Название: Death`s Following: Mediocrity, Dirtiness, Adulthood, Literature ISBN: 082324279X ISBN-13(EAN): 9780823242795 Издательство: Wiley EDC Рейтинг: Цена: 70930.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание:
Almost all twentieth-century philosophy stresses the immanence of death in human life—as drive (Freud), as the context of Being (Heidegger), as the essence of our defining ethics (Levinas), or as language (de Man, Blanchot). In Death’s Following, John Limon makes use of literary analysis (of Sebald, Bernhard, and Stoppard), cultural analysis, and autobiography to argue that death is best conceived as always transcendentally beyond ourselves, neither immanent nor imminent. Adapting Kierkegaard’s variations on the theme of Abraham’s near-sacrifice of Isaac while refocusing the emphasis onto Isaac, Limon argues that death should be imagined as if hiding at the end of an inexplicable journey to Moriah. The point is not to evade or ignore death but to conceive it more truly, repulsively, and pervasively in its camouflage: for example, in jokes, in logical puzzles, in bowdlerized folk songs. The first of Limon’s two key concepts is adulthood: the prolonged anti-ritual for experiencing the full distance on the look of death. His second is dirtiness, as theorized in a Jewish joke, a logical exemplum, and T. S. Eliot’s “Ash Wednesday”: In each case, unseen dirt on foreheads suggests the invisibility of inferred death. Not recognizing death immediately or admitting its immanence and imminence is for Heidegger the defining characteristic of the “they,” humanity in its inauthentic social escapism. But Limon vouches throughout for the mediocrity of the “they” in its dirty and ludicrous adulthood. Mediocrity is the privileged position for previewing death, in Limon’s opinion: practice for being forgotten. In refusing the call of twentieth-century philosophy to face death courageously, Limon urges the ethical and aesthetic value of mediocre anti-heroism.
Автор: Milnne Maria, Ediciones La Pereza Название: Limon Partido ISBN: 0692247556 ISBN-13(EAN): 9780692247556 Издательство: Неизвестно Цена: 14930.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание: Esta es la historia del sabor amargo de quienes se van con el corazon por delante, llevandose algun sueno; y de quienes se quedan donde los aguaceros, los cocuyos y los tomeguines, divididos todos en dos como un Limon Partido. Viajamos con Manolito a un sitio "en el limite que separa la tierra del cielo." Padecemos con Isa la anoranza por el regreso de su hermana Itzen, quien le enseno a ver el mundo con los colores del arcoiris. La narracion se transforma constantemente en fabula, parabola, epistola, diario y dialogos cotidianos. Son tres narradores a una sola voz, sin genero, sin patria, que se marchan de si mismos y no se despegan nunca del regreso. Podria el lector ser uno mas. Podria enarbolar esta historia como su propia bandera.
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