Exploring why there is so much fecal matter in literary works that matter Cacaphonies takes fecal matter and its place in literature seriously. Readers and critics have too long overlooked excrement’s vital role in the twentieth- and twenty-first-century French canon. In a stark challenge to the tendency to view this literature through sanitizing abstractions, Annabel L. Kim undertakes close readings of key authors to argue for feces as a figure of radical equality, both a literary object and a reflection on literature itself, without which literary studies is impoverished and sterile. Following the fecal through line in works by Céline, Beckett, Genet, Sartre, Duras, and Gary and the contemporary authors Anne Garréta and Daniel Pennac, Kim shows that shit, far from vanishing from the canon after the early modern period, remains present in the modern and contemporary French literature that follows. She argues that all the shit in the canon expresses a call to democratize literature, making literature for all, just as shit is for (or of) all. She attends to its presence in this prized element of French identity, treating it as a continually uttered desire to manifest the universality France aspires to—as encapsulated by the slogan Liberté, égalité, fraternité—but fails to realize. In shit there is a concrete universalism that traverses bodies with disregard for embodied differences. Cacaphonies reminds us that literature, and the ideas to be found therein, cannot be separated from the corporeal envelopes that create and receive them. In so doing, it reveals the aesthetic, political, and ethical potential of shit and its capacity to transform literature and life.

Despite their conceptual allergy to vegetal life, philosophers have used germination, growth, blossoming, fruition, reproduction, and decay as illustrations of abstract concepts; mentioned plants in passing as the natural backdrops for dialogues, letters, and other compositions; spun elaborate allegories out of flowers, trees, and even grass; and recommended appropriate medicinal, dietary, and aesthetic approaches to select species of plants. In this book, Michael Marder illuminates the vegetal centerpieces and hidden kernels that have powered theoretical discourse for centuries. Choosing twelve botanical specimens that correspond to twelve significant philosophers, he recasts the development of philosophy through the evolution of human and plant relations. A philosophical history for the postmetaphysical age, The Philosopher's Plant reclaims the organic heritage of human thought. With the help of vegetal images, examples, and metaphors, the book clears a path through philosophy's tangled roots and dense undergrowth, opening up the discipline to all readers.

The female body has occupied a central place in the Western imagination, its images pervading poetry and story, mythology and religious doctrine, the visual arts, and scientific treatises. It has inspired both attraction and fear, been perceived as beautiful and unclean, alluring and dangerous, a source of pleasure and nurturing but also a source of evil and destruction. In The Female Body in Western Culture, twenty-three internationally noted scholars and critics, in specially commissioned essays, explore these representations and their consequences for contemporary art and culture. Ranging from Genesis to Gertrude Stein and Angela Carter, from ancient Greek ritual to the Victorian sleeping cure, from images of the Madonna to modern film and Surrealist art, the essays cover a wide spectrum of approaches and subject mailer. They all converge, however, around questions of power and powerlessness, voice and silence, subjecthood and objectification. And they point the way to the new possibilities and displacements of traditional male-female oppositions. Androgyny in a new key? This book demonstrates that a blurring of gender boundaries does not have to deny difference.

Uncover the secret meanings behind your bouquets and floral arrangements with this stunningly illustrated exploration of the Victorian language of flowers, including the multicultural history, rituals, and mythology behind over 600 flowers, herbs, and trees. In the Victorian language of flowers, hundreds of blooms were ascribed specific meanings based on folklore, science, and ancient history. Page through this botanical encyclopedia to learn each flower's Victorian meaning (ranunculus, for example, boldly states, "I am dazzled by your charms," while marigold represents despair), common names, and cultural history. There is also an index of the flowers grouped by theme, should you want to challenge your local florist to create a coded message for a loved one. The study of floriography can be used by readers to decode hidden messages in beloved novels like The Age of Innocence or speculate as to why two canary-yellow roses—which signify jealousy and infidelity—were featured in Diana Spencer's wedding bouquet. You might share some honeysuckle (meaning "bonds of love") with a friend or partner as a gesture of commitment. Or perhaps you'll choose a celebratory bouquet of angelica ("inspiration") and purple columbine ("resolved to win") for a friend who has triumphed over something difficult. Karen Azoulay pairs nineteenth century botanical drawings with electric photography, creating a one-of-a-kind flower dictionary with a contemporary, artful feel. With a foreword by Kate Bolick and a helpful sentiment-based index, Flowers and Their Meanings is both a beautiful volume and a practical guide to incorporating the language of flowers into your own life.

The margins of philosophy are populated by non-human, non-animal living beings, including plants. While contemporary philosophers tend to refrain from raising ontological and ethical concerns with vegetal life, Michael Marder puts this life at the forefront of the current deconstruction of metaphysics. He identifies the existential features of plant behavior and the vegetal heritage of human thought so as to affirm the potential of vegetation to resist the logic of totalization and to exceed the narrow confines of instrumentality. Reconstructing the life of plants "after metaphysics," Marder focuses on their unique temporality, freedom, and material knowledge or wisdom. In his formulation, "plant-thinking" is the non-cognitive, non-ideational, and non-imagistic mode of thinking proper to plants, as much as the process of bringing human thought itself back to its roots and rendering it plantlike.

"Explores the art of John Singer Sargent in the context of nineteenth-century botany, gynecology, literature, and visual culture. Argues that the artist was elaborating both a period poetics of homosexuality and a new sense of subjectivity, anticipating certain aspects of artistic modernism"--Provided by publisher.

Examines the representations of prostitution in the art and literature of nineteenth-century France, with regard to how this reflected the attitudes of society.

As TikTokers, YouTubers and traditional artists continue to reimagine the video form, this book explores the value of this medium within medical practice and patient care, as well as everyday creative expression.

This book explores the meaning and symbolism of the flower motif in the art of women artists, from the nineteenth century to the present day. It begins with a discussion of the symbolic significance of the flower in canonical texts such as the Song of Songs, in which the female lover is likened to a “lily among the thorns,” and to an “enclosed garden.” These allegorical images permeated into Christian iconography, attaining various expressions in the plastic arts from the twelfth through nineteenth centuries. The heart of the book is a discussion of the meaning of the change in representations of the flower, and at the same time the appearance of amazing images of “masculine” skyscrapers, in the works of avant-garde American women artists during the 1920s and 30s, in three hubs of Modernist art: New York, California, and Mexico. Tessler explains how modernist artists of various fields of art – such as Glaspell, Stettheimer, O’Keeffe, Pelton, Cunningham, Mather, Modotti and Kahlo – were aware of the religious symbolism of the flower in Judaism and Christianity, and turned it into an emblem of the new modern woman with her own views of the world. Flowers and Towers concludes by presenting the works of contemporary feminist American artists such as Chicago and Schapiro, who pay tribute to those same Modernist artists by creating a new and daring image of the flower and using “feminine” materials and techniques that link them, as it were, to their spiritual mothers.

Rafe ffoxe-Gentry, a snooty, upper-class Englishman working for GTG, a crooked multinational based in the mythical Australian state of Galahnia, is a rakish womaniser, whose nightly Got Laid Parades terminate abruptly when he falls for his Russian wifes beautiful and eccentrically brilliant young niece, Venetia. Put in charge of a visiting delegation of Russians negotiating a commercial agreement between GTG and the USSR, with Venetia as interpreter, Rafe finds the Soviet delegates more interested in booze, nightclubs, and women than in discussions. During negotiations in Singapore, the riotous behaviour of the sozzled Soviets leads to threatening Cold War complications, major disaster being narrowly averted by Venetias ingenuity. Rafe returns triumphantly home, only to find himself in even greater trouble as the situation becomes unexpectedly perilous, homicidal and dismayingly revelatory. His affair with Venetia, once wildly sexual and heart-breakingly romantic, now degenerates into a series of despairing battles between love and hate. In turn sensual, brutal, satirical and witty, this riotous black comedy depicts the greed, corruption and madness of the H-bomb eighties, and spares no one, including its madcap hero, in its scathing portrait of an era as unrestrained and vicious as it was violent and grasping.