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Books on the topic 'Mondia whitei'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Walters, Eric. Camp X: Fool's gold. Toronto: Puffin Canada, 2007.

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2

Walters, Eric. Camp X. TORONTO: PENGUIN GROUP (CANADA), 2009.

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3

1932-, Kōshiro Kazuyoshi, and Kuwahara Yasuo, eds. Gendai howaito karā no rōdō mondai. Tōkyō: Nihon Rōdō Kyōkai, 1988.

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4

Pietroski, Paul M. Massively monadic, potentially plural. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812722.003.0007.

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This chapter offers evidence for the following hypothesis: the concepts fetched via lexical meanings are predicative (monadic) or minimally relational (dyadic), even though we often lexicalize concepts of other types. Denoting concepts are used to introduce predicative analogs, while “supradyadic” concepts are used to introduce predicative and/or dyadic analogs. Given a Fregean language, lexicalization could be a more transparent process in which concepts are simply labeled with words of matching types. In this sense, lexicalization effaces certain conceptual distinctions; and it is argued that mass/count/plural distinctions provide another illustration of this point. In this context, there is discussion of Boolos’s plural interpretation of second-order quantification, which also plays a role in chapter seven.

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5

Where White Horses Gallop A Novel. Key Porter Books, 2009.

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6

Morey, Peter. Black British and British Asian Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198749394.003.0029.

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This chapter explores some issues in black British and British Asian fiction since the 1980s. It shows certain key characteristics of the white British apprehension of those non-white imperial subjects who, after decolonization, were to arrive, in increasing numbers, on British shores. This chapter takes a sample of five writers — three women and two men — and explores those key recurring themes that give a unity to their otherwise very different novels. Through the work of Caryl Phillips, Andrea Levy, Zadie Smith, Hanif Kureishi, and Monica Ali, this chapter traces the persistence of issues of race and racism. The chapter also considers the importance of recuperating black history, the rise of identity politics, and the tenacity with which the gaze of the racial Other — whether white on black or black on white — fixes its object in the expectation of certain forms of limiting and supposedly ‘authentic’ behaviour.

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7

Pietroski, Paul M. Conjoining Meanings. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812722.001.0001.

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Humans naturally acquire languages that connect meanings with pronunciations. These distinctive languages are described here as generative procedures that respect substantive constraints. Children acquire meaningful lexical items that can be combined, in certain ways, to form meaningful complex expressions. This raises questions about what meanings are, how they can be combined, and what kinds of meanings lexical items can have. This book argues that meanings are neither concepts nor extensions, and sentences do not have truth conditions. Rather, meanings are composable instructions for how to access and assemble concepts of a special sort. More specifically, phrasal meanings are instructions for how to build monadic concepts (a.k.a. mental predicates) that are massively conjunctive, while lexical meanings are instructions for how to fetch concepts that are monadic or dyadic. This allows for polysemy, since a lexical item can be linked to an address that is shared by a family of fetchable concepts. But the posited combinatorial operations are limited and limiting. They impose severe restrictions on which concepts can be fetched for purposes of semantic composition. Correspondingly, the argument here is that in lexicalization, available representations are often used to introduce concepts that can be combined via the relevant operations.

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8

Westfahl, Gary. Legends of the Sprawl. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037801.003.0005.

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This chapter examines three of William Gibson's novels: Neuromancer, Count Zero, and Mona Lisa Overdrive. In Neuromancer, Gibson moved into new territory cautiously, employing a familiar setting—his Sprawl—while essentially combining the plots of two earlier stories. As in “Johnny Mnemonic,” Case would undertake a physical journey through a threatening underworld to obtain crucial information; he would also travel through cyberspace to hack into a protected database. Drawing upon science fiction traditions, Gibson also introduced two significant novelties. Count Zero also features a young computer cowboy, Bobby Newmark, who adventures in both the Sprawl and cyberspace. However, while Newmark's alias Count Zero provides the novel's title, he would be only one of its three protagonists, and perhaps the least important one, as Gibson interweaves his narrative with the stories of two other, very different characters. Mona Lisa Overdrive relies heavily on characters from previous novels.

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9

Fischer-Lichte, Erika. Choric Theatre. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199651634.003.0011.

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The ninth chapter, ‘Choric Theatre. Between Tragic Experience and Participatory Democracy’, discusses a new form of theatre that grew out of Greek tragedy’s chorus. While Einar Schleef used the chorus in The Mothers (1986) in order to create a new tragic theatre, in the 1990s—that is, after the protest choruses of the Monday demonstrations in the GDR had led to the fall of the Berlin Wall—choric theatre became an important form of political theatre. Mostly, these choruses were composed of local citizens, as in Volker Lösch’s Oresteia in Dresden (2003) or in theatercombinat’s The Persians (2006–8), and often even of members of a minority, as in all of Volker Lösch’s later productions. Here choric theatre gave a voice to those who had been silenced and even anticipated a utopia of a truly participatory democracy.

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10

Huerta, Monica. Magical Habits. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021483.

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In Magical Habits Monica Huerta draws on her experiences growing up in her family's Mexican restaurants and her life as a scholar of literature and culture to meditate on how relationships among self, place, race, and storytelling contend with both the afterlives of history and racial capitalism. Whether dwelling on mundane aspects of everyday life, such as the smell of old kitchen grease, or grappling with the thorny, unsatisfying question of authenticity, Huerta stages a dynamic conversation among genres, voices, and archives: personal and critical essays exist alongside a fairy tale; photographs and restaurant menus complement fictional monologues based on her family's history. Developing a new mode of criticism through storytelling, Huerta takes readers through Cook County courtrooms, the Cristero Rebellion (in which her great-grandfather was martyred by the Mexican government), Japanese baths in San Francisco—and a little bit about Chaucer too. Ultimately, Huerta sketches out habits of living while thinking that allow us to consider what it means to live with and try to peer beyond history even as we are caught up in the middle of it. Duke University Press Scholars of Color First Book Award recipient

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11

Voigt, Rüdiger, ed. Aufbruch zur Demokratie. Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783845298726.

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The Weimar Constitution marked Germany’s first sortie into democracy, with the Republic intended to be democratic, humane and constitutional and based on the principle of popular sovereignty. However, its election system of proportional representation favoured small parties and impeded the formation of a government, with its final governments being presidential cabinets. Constitutions are often analysed by various academic fields. While philosophy and historiography set the framework for this analysis, constitutional law may be regarded as the principal discipline in this regard. The social sciences are first and foremost concerned with constitutional reality, and there is indeed strong evidence that it was the Weimar Republic’s lack of socio-economic foundations that ultimately caused its demise. This volume is divided into twelve parts (perspectives) and will appeal to readers interested in politics, law, (contemporary) history, sociology and philosophy. With contributions by Stefan Bajohr, Wolfgang Bergem, Sabine Berghahn, Ursula Büttner, Norbert Campagna, Wolfgang Elz, Heiner Fechner, Helmut Gebhardt, Michael Geistlinger, Christoph Gusy, Volker Haug, Franz Hederer, Tobias Herbst, Peter Hilpold, Marcus Höreth, Ernst-Ulrich Huster, Eckhard Jesse, Herbert Kalb, Daniel-Erasmus Khan, Franz Kohout, Skadi Siiri Krause, Volker Kruse, Stefan Kutzner, Hans-Joachim Lauth, Oliver Lembcke, Matthias Lemke, Thomas Leuerer, Josef Marko, Reinhard Mehring, Martin H.W. Möllers, Martin Morlok, Robert Chr. van Ooyen, Martin Otto, Jürgen Pirker, Monika Polzin, Emanuel Richter, Claus von Rosen, Frank Schale, Stephanie Schiedermair, Theo Schiller, Kamila Staudigl-Ciechowicz, Stefan Storr, Heinz-Elmar Tenorth, Lars Viellechner, Rüdiger Voigt, Christian Waldhoff, Heinrich de Wall und Anita Ziegerhofer.

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12

Curtis, Cathy. Alive Still. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.001.0001.

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In 1942, at age twenty, after a vision-impaired and rebellious childhood in Richmond, Virginia, Nell Blaine decamped for New York. Operations had corrected her eyesight, and she was newly aware of modern art, so different from the literal style of her youthful drawings. In Manhattan, she met rising young artists and poets. Her life was hectic, with raucous parties in her loft, lovers of both sexes, and freelance design jobs, including a stint at the Village Voice. Initially drawn to the rigorous formalism of Piet Mondrian, she received critical praise for her jazzy abstractions. During the 1950s, she began to paint interiors and landscapes. By 1959, when the Whitney Museum purchased one of her paintings, her career was firmly established. That year, she contracted a severe form of polio on a trip to Greece; suddenly, she was a paraplegic. Undaunted, she taught herself to paint in oil with her left hand, reserving her right hand for watercolors. In her postpolio work, she achieved a freer style, expressive of the joy she found in flowers and landscapes. Living half the year in Gloucester, Massachusetts, and the other half in New York, she took special delight in painting the views from her windows and from her country garden. Critics found her new style irresistible, and she had a loyal circle of collectors; still, she struggled to earn enough money to pay the aides who made her life possible. At her side for her final twenty-nine years was her lover, painter Carolyn Harris.

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13

Camp X. Viking Books, 2002.

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14

camp x. viking penguin, 2002.

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15

Camp X. Penguin Global, 2003.

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16

Walters, Eric. Camp X. Turtleback Books Distributed by Demco Media, 2003.

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17

camp x. viking penguin, 2002.

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18

Camp X. Tandem Library, 2003.

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19

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