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"In Nature's infinite book of secrecy A little I can read." William Shakespeare Environmental degradation. Globalization. The closure of our public life to the transcendent dimensions of human existence. For esteemed philosopher Kenneth Schmitz these are the by-products of modernity and post-modernity. But The Recovery of Wonder is not a denunciation of modern philosophy. Instead, it seeks to point out what needs to be rethought at fundamental levels of our understanding and to show clearly how contemporary social concerns can be illuminated by a new look at the history of philosophy. While acknowledging the significant gains modernity and post-modernity offer Western civilization in the areas of liberty and knowledge, Schmitz sees in their arguments a superficiality that does not "bite to the bone." In The Recovery of Wonder he proposes we approach the world as a gift in order to regain the sense of wonder Shakespeare so eloquently recognized.
Weird Wonder in Merleau-Ponty, Object-Oriented Ontology, and New Materialism by Brian Hisao Onishi Pdf
This book connects recent developments in speculative realism, new materialism, and eco-phenomenology to articulate an approach to wonder that escapes the connected traps of anthropocentrism and correlationism. Brian Onishi argues that wonder has explanatory power for the constitution of the world and the organization of meaning. To do this, he appeals to both fiction (speculative and Weird fiction in particular) and quantum physics. More specifically, he argues that the focus of Weird fiction on impossible experiences and a feeling of something just beyond the limits of one’s grasp dramatizes the speculative reach beyond the limits of our understanding. But more than a tool for knowledge acquisition, wonder is an organizing property of objects. Like the collapse of superposition in quantum physics, reality is constituted when objects reveal themselves to other objects and thereby organize themselves into complex objects. Since no relation is exhaustive, the capacity to wonder remains at a material level, and the possibility of reorganization is ever present. Ultimately, Onishi argues for a speculative eco-phenomenology with wonder as an engine for a Weird environmental ethics.
The Wonder Weeks Back to You by Xaviera Plooij,Laurens Mischner Pdf
“Nine months up, nine months down” gives new mothers the space to find themselves again—physically, emotionally, and sexually. From hormones and muscles to mind and spirit, every aspect of a woman’s body is affected by pregnancy—and now is the time to acknowledge that by empowering new mothers to take control of their “fourth trimester” and beyond. From the creator of the popular Wonder Weeks, Back to You is a stress-free guide to a week-by-week program for overall postpartum recovery. Featuring interviews with doctors, lactation consultants, therapists, and other experts, this book provides reassuring and encouraging information that focuses on boosting emotional and physical health. The 40-week plan eases into exercises, from meditation to strength training (with particular focus on the “PowerHouse”—pelvic floor, abdominal, and back muscles), providing illustrated guides and exclusive access to the Back to You app, which features weekly 30-minute workouts. With a thorough focus on both mind and body, Back to You is one of few postpartum programs to address the whole person for a comprehensive approach to recovery.
The instant New York Times bestseller Lust: 1. intense sexual desire or appetite 2.a passionate or overmastering desire or craving 3.ardent enthusiasm; zest; relish. Wonder: 1. something strange and surprising; a cause of surprise, astonishment,or admiration 2. the emotion excited by what is strange and surprising; a feeling of surprised or puzzled interest, sometimes tinged with admiration 3. a miraculous deed or event; remarkable phenomenon From the beloved #1 New York Times bestselling author comes an intimate look at the driving forces in one man’s life. With Augusten's unique and singular observations and his own unabashed way of detailing both the horrific and the humorous, Lust and Wonder is a hilariously frank memoir that his legions of fans have been waiting for. His story began in Running with Scissors, endured through Dry, and continues with this memoir, the capstone to the life of Augusten Burroughs. Funny, sweet, alarming, and ultimately, moving and tender, Lust & Wonder is an experience of a book that will resonate with anyone who has loved and lost and loved again.
Exploring travellers' tales of wonder in contemporary literature, this study challenges a sensibility of disenchantment with travel. It reassesses travel writing as an aesthetically and ethically innovative form in contemporary international literature, and demonstrates the crucial role of wonder in the travel narratives of writers such as Bruce Chatwin, V.S. Naipaul, and W.G. Sebald. Their 'travellers' tales of wonder' are read as a challenge to the hubris of thinking the world too well known, and an invitation to encounter the world - including its most troubling histories - with a sense of wonder.
The last vials: being a series of essays upon the subject of the second advent. Publ. separately in the year 1846. By a clergyman [R.A. Purdon]. 10th ser.; 17th year, no.1-28th year, no.4 by Robert A. Purdon Pdf
With his stunning debut novel, She's Come Undone, Wally Lamb won the adulation of critics and readers with his mesmerizing tale of one woman's painful yet triumphant journey of self-discovery. Now, this brilliantly talented writer returns with I Know This Much Is True, a heartbreaking and poignant multigenerational saga of the reproductive bonds of destruction and the powerful force of forgiveness. A masterpiece that breathtakingly tells a story of alienation and connection, power and abuse, devastation and renewal--this novel is a contemporary retelling of an ancient Hindu myth. A proud king must confront his demons to achieve salvation. Change yourself, the myth instructs, and you will inhabit a renovated world. When you're the same brother of a schizophrenic identical twin, the tricky thing about saving yourself is the blood it leaves on your bands--the little inconvenience of the look-alike corpse at your feet. And if you're into both survival of the fittest and being your brother's keeper--if you've promised your dying mother--then say so long to sleep and hello to the middle of the night. Grab a book or a beer. Get used to Letterman's gap-toothed smile of the absurd, or the view of the bedroom ceiling, or the influence of random selection. Take it from a godless insomniac. Take it from the uncrazy twin--the guy who beat the biochemical rap. Dominick Birdsey's entire life has been compromised and constricted by anger and fear, by the paranoid schizophrenic twin brother he both deeply loves and resents, and by the past they shared with their adoptive father, Ray, a spit-and-polish ex-Navy man (the five-foot-six-inch sleeping giant who snoozed upstairs weekdays in the spare room and built submarines at night), and their long-suffering mother, Concettina, a timid woman with a harelip that made her shy and self-conscious: She holds a loose fist to her face to cover her defective mouth--her perpetual apology to the world for a birth defect over which she'd had no control. Born in the waning moments of 1949 and the opening minutes of 1950, the twins are physical mirror images who grow into separate yet connected entities: the seemingly strong and protective yet fearful Dominick, his mother's watchful "monkey"; and the seemingly weak and sweet yet noble Thomas, his mother's gentle "bunny." From childhood, Dominick fights for both separation and wholeness--and ultimately self-protection--in a house of fear dominated by Ray, a bully who abuses his power over these stepsons whose biological father is a mystery. I was still afraid of his anger but saw how he punished weakness--pounced on it. Out of self-preservation I hid my fear, Dominick confesses. As for Thomas, he just never knew how to play defense. He just didn't get it. But Dominick's talent for survival comes at an enormous cost, including the breakup of his marriage to the warm, beautiful Dessa, whom he still loves. And it will be put to the ultimate test when Thomas, a Bible-spouting zealot, commits an unthinkable act that threatens the tenuous balance of both his and Dominick's lives. To save himself, Dominick must confront not only the pain of his past but the dark secrets he has locked deep within himself, and the sins of his ancestors--a quest that will lead him beyond the confines of his blue-collar New England town to the volcanic foothills of Sicily 's Mount Etna, where his ambitious and vengefully proud grandfather and a namesake Domenico Tempesta, the sostegno del famiglia, was born. Each of the stories Ma told us about Papa reinforced the message that he was the boss, that he ruled the roost, that what he said went. Searching for answers, Dominick turns to the whispers of the dead, to the pages of his grandfather's handwritten memoir, The History of Domenico Onofrio Tempesta, a Great Man from Humble Beginnings. Rendered with touches of magic realism, Domenico's fablelike tale--in which monkeys enchant and religious statues weep--becomes the old man's confession--an unwitting legacy of contrition that reveals the truth's of Domenico's life, Dominick learns that power, wrongly used, defeats the oppressor as well as the oppressed, and now, picking through the humble shards of his deconstructed life, he will search for the courage and love to forgive, to expiate his and his ancestors' transgressions, and finally to rebuild himself beyond the haunted shadow of his twin. Set against the vivid panoply of twentieth-century America and filled with richly drawn, memorable characters, this deeply moving and thoroughly satisfying novel brings to light humanity's deepest needs and fears, our aloneness, our desire for love and acceptance, our struggle to survive at all costs. Joyous, mystical, and exquisitely written, I Know This Much Is True is an extraordinary reading experience that will leave no reader untouched.
James Biester sees the shift in late Elizabethan England toward a witty, rough, and obscure lyric style—metaphysical wit and strong lines—as a response to the heightened cultural prestige of wonder. That same prestige was demonstrated in the search for strange artifacts and animals to display in the wonder-cabinets of the period. By embracing the genres of satire and epigram, poets of the Elizabethan court risked their chances for political advancement, exposing themselves to the danger of being classified either as malcontents or as jesters who lacked the gravitas required of those in power. John Donne himself recognized both the risks and benefits of adopting the'admirable'style, as Biester shows in his close readings of the First and Fourth Satyres. Why did courtier-poets adopt such a dangerous form of self-representation? The answer, Biester maintains, lies in an extraordinary confluence of developments in both poetics and the interpenetrating spheres of the culture at large, which made the pursuit of wonder through style unusually attractive, even necessary. In a postfeudal but still aristocratic culture, he says, the ability to astound through language performed the validating function that was once supplied by the ability to fight. Combining the insights of the new historicism with traditional literary scholarship, Biester perceives the rise of metaphysical style as a social as well as aesthetic event.
An Ocean of Wonder by ku‘ualoha ho‘omanawanui,Joyce Pualani Warren,Cristina Bacchilega Pdf
An Ocean of Wonder: The Fantastic in the Pacific brings together fifty writers and artists from across Moananuiākea working in myriad genres across media, ranging from oral narratives and traditional wonder tales to creative writing as well as visual artwork and scholarly essays. Collectively, this anthology features the fantastic as present-day Indigenous Pacific world-building that looks to the past in creating alternative futures, and in so doing reimagines relationships between peoples, environments, deities, nonhuman relatives, history, dreams, and storytelling. Wonder is activated by curiosity, humility in the face of mystery, and engagement with possibilities. We see wonder and the fantastic as general modes of expression that are not confined to realism. As such, the fantastic encompasses fantasy, science fiction, magic realism, fabulation, horror, fairy tale, utopia, dystopia, and speculative fiction. We include Black, feminist, and queer futurisms, Indigenous wonderworks, Hawaiian moʻolelo kamahaʻo and moʻolelo āiwaiwa, Sāmoan fāgogo, and other non-mimetic genres from specific cultures, because we recognize that their refusal to adopt restrictive Euro-American definitions of reality is what inspires and enables the fantastic to flourish. As artistic, intellectual, and culturally based expressions that encode and embody Indigenous knowledge, the multimodal moʻolelo in this collection upend monolithic, often exoticizing, and demeaning stereotypes of the Pacific and situate themselves in conversation with critical understandings of the global fantastic, Indigenous futurities, social justice, and decolonial and activist storytelling. In this collection, Oceanic ideas and images surround and connect to Hawaiʻi, which is for the three coeditors, a piko (center); at the same time, navigating both juxtaposition and association, the collection seeks to articulate pilina (relationships) across genres, locations, time, and media and to celebrate the multiplicity and relationality of the fantastic in Oceania.
This book offers an important new perspective on the Western tradition of musical aesthetics through an examination of Anicius Boethius and Immanuel Kant. Within the trajectory illuminated by these two thinkers, musical meaning is framed by and formed through the concept of beauty--a concept which is shaped by prior understandings about notions of the self and the world. Beauty opens up a space within which the boundary between the self and the world, subject and object, is negotiated and configured. In doing so, either the subject or the object is asserted to the detriment of the other, and to the physicality of music. This book asserts that the uniqueness of music's ontology emerges from its basis in sound and embodied practice. It suggests that musical beauty is generated by the mutuality of subject and object arising within the participation that music encourages, one which involves an ekstatic mode of attention on the part of the subject.
The birth of my healing came about in the most unusual and surprising way. My first session with my therapist came to a close and we were putting the horses away. We closed the gate and I took one more look at May, the mare, and put my fingers through the fence to reach for her. May gently pressed back on my fingers and in this silent moment her message to me was firm. This was my first personal communication with her and it was crystal clear: You are finally safe now.
FEATURING: Adam Joyce, Lincoln Harvey, Marcia W. Mount Shoop, Margot Starbuck, and Tim Suttle PLUS: Let's Dance: Zumba and the Imago Dei of Beautiful Black Bodies * Commercial Participation: Modern Sports Fandom and Sacramental Ontology * The Work of Play * Lines and Lines Athwart Lines * Singing with Losers --AND MORE . . . The ancient Olympic games were held every four years at the temple of Zeus. They were a major cultural and religious event that doubled as a contest between rivaling nation-states. Certain strands of mythology even suggest that Heracles, the strongest of mortal men, organized the event and built the Olympic stadium in honor of his father, Zeus. Today, few athletes devote their efforts to the honor of Zeus, but there remains a certain religiosity at work in sport's place within Western culture. Fame, fortune, and honor; character and fair play; skill and artistic perfection also remain at stake, just in new ways. As Marcia W. Mount Shoop explains in her interview with Jessica Coblentz, sports still "tap into our most primal existential needs for vitality, for purpose, for creativity, for connection and community, and for work and play," and in this, our twenty-fifth issue of The Other Journal, we dive into these characteristics of sport, starting literally with Jennifer Stewart Fueston's poem "A Swim" and then continuing on to the ancient Greek stadium at Nemea. Our contributors consider the ethics, commodification, and embodiment of particular events, as well as the personal and cultural stories which weave in and out of sport. They do the hard work of conscientious fandom at football games; walk us through baseball liturgies; and take us to the windy courts of Philo, Illinois, where noted author David Foster Wallace was an outdoor tennis savant. They show us how to fly and then how to lose. And they invite us to dance, "to let our bodies taste the salt of our sweat, hear the pant of exhalation, and feel the perspiration on our skin, for it is in these very possibilities," argues John B. White, "that we relate to God, others, and self." The issue features essays and reviews by Jeff Appel, Andrew Arndt, Ben Bishop, Jen Grabarczyk-Turner, Lincoln Harvey, Jonathan Hiskes, Adam Joyce, Lakisha R. Lockhart-Rusch, Benj Petroelje, Justin Randall Phillips, Heather L. Reid, Margot Starbuck, Tim Suttle, and John B. White; an interview by Jessica Coblentz with Marcia W. Mount Shoop; creative nonfiction by Brett Beasley, Meghan Florian, and Katie Karnehm-Esh; poetry by Bethany Bowman, Catherine Thiel Lee, and Jennifer Stewart Fueston; and art by Allen Forrest, Gerald Lopez, and Abigail Platter.