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1919 Introduction by Sir W. F. Barrett. Contents: Introductory; Personality of the Control; Communicator-Evidence of the Survival; Telepathy & Automatism; "Prevision"; Mediumship & the Mental Sensations of the Medium; Psychometry Through the Med.
Strange Voices in Narrative Fiction by Per Krogh Hansen,Stefan Iversen,Henrik Skov Nielsen,Rolf Reitan Pdf
From its beginnings narratology has incorporated a communicative model of literary narratives, considering these as simulations of natural, oral acts of communication. This approach, however, has had some problems with accounting for the strangeness and anomalies of modern and postmodern narratives. As many skeptics have shown, not even classical realism conforms to the standard set by oral or ‘natural’ storytelling. Thus, an urge to confront narratology with the difficult task of reconsidering a most basic premise in its theoretical and analytical endeavors has, for some time, been undeniable. During the 2000s, Nordic narratologists have been among the most active and insistent critics of the communicative model. They share a marked skepticism towards the idea of using ‘natural’ narratives as a model for understanding and interpreting all kinds of narratives, and for all of them, the distinction of fiction is of vital importance. This anthology presents a collection of new articles that deal with strange narratives, narratives of the strange, or, more generally, with the strangeness of fiction, and even with some strange aspects of narratology.
Void Voices is a descent into the Hell that is our contemporary culture. Inevitably, Trump and Brexit feature. Dante's guide was Virgil; Knight's is an undead T S Eliot. Along the way, the reader is assailed by a cacophony of heterogeneous material, including song lyrics, doctored news stories, lines from old poems, transcriptions of nonsense texts generated by Google Translate. The Hell is that of our culture; it is also that of the poem itself: poem as voice-filled void.
War. Magic. A lover's betrayal. A dark secret lies beneath them all. Each year, Democryos sends his brightest student into the war-torn countryside to work magic. But when his wife leaves him for a mysterious stranger, he finds his own life ravaged. Forsaking the comfort of the citadel, he searches for her, traveling through the same forgotten lands where he sent his students. Along the way, he befriends an elusive member of the king’s harem, a holy man harboring guilt, and a maimed soldier. Together, they stumble upon a key—not only to the war, but to understanding the magic of voidance itself. "Wozniak's medieval world, as described, is a beautiful one; from the sky, it "looks like thousands of curved pieces of glass" covering everything "in blues and greens." The book also wonderfully handles the notion of a preindustrial society discovering the atomic structure of nature. Yet the plot's human elements--which include romance, drug addiction, and trust across philosophical lines--often shine brightest. Revelations and combat converge in the propulsive finale, and Wozniak's strong imagination will rope fans in." - Kirkus Reviews
A new, philosophically grounded theory of the voice—the voice as the lever of thought, as one of the paramount embodiments of the psychoanalytic object. Plutarch tells the story of a man who plucked a nightingale and finding but little to eat exclaimed: "You are just a voice and nothing more." Plucking the feathers of meaning that cover the voice, dismantling the body from which the voice seems to emanate, resisting the Sirens' song of fascination with the voice, concentrating on "the voice and nothing more": this is the difficult task that philosopher Mladen Dolar relentlessly pursues in this seminal work. The voice did not figure as a major philosophical topic until the 1960s, when Derrida and Lacan separately proposed it as a central theoretical concern. In A Voice and Nothing More Dolar goes beyond Derrida's idea of "phonocentrism" and revives and develops Lacan's claim that the voice is one of the paramount embodiments of the psychoanalytic object (objet a). Dolar proposes that, apart from the two commonly understood uses of the voice as a vehicle of meaning and as a source of aesthetic admiration, there is a third level of understanding: the voice as an object that can be seen as the lever of thought. He investigates the object voice on a number of different levels—the linguistics of the voice, the metaphysics of the voice, the ethics of the voice (with the voice of conscience), the paradoxical relation between the voice and the body, the politics of the voice—and he scrutinizes the uses of the voice in Freud and Kafka. With this foundational work, Dolar gives us a philosophically grounded theory of the voice as a Lacanian object-cause.
A fairy tale retelling with a twist! After being raised by the meanest fairies in the history of ever, Bryar Rose is now free to live her own life. For the first time, she’s attending West Lake Prep, a regular high school. Well, mostly regular. Some students are actually hidden members of the Magicorum. In other words, they’re really wizards, fairies, or shifters. Bry doesn’t mind, though. She’s thrilled to enjoy all the new experiences of being around normal kids her age, from locker pranks to lunchtime mystery meat. Everything is going along great, except for one thing. Bry’s dreams about the pyramids of Egypt have gotten darker and more sinister. Every night, she sees her new man Knox and her best friend Elle in danger. With no other choice, Bry plans to leave school to explore the pyramids on her own. But her new man Knox discovers the scheme and is having none of it. He wants to stay by her side, no matter what. It’s a good thing too, because Bry must solve the mystery of her attraction to the pyramids and soon. Otherwise, it could cost the lives of those she loves most. And that means not only Knox, but also her best friend Elle. Perfect for readers who love young adult books with romance, action, adventure, and one-of-a-kind world building. Magicorum characters KNOW they’re stuck in a fairy tale life template… and struggle with the role of fantasy and magic in their future. Fairy Tales of the Magicorum Series A series of modern fairy tales with sass, action and romance 1. Wolves and Roses 2. Moonlight and Midtown 3. Shifters and Glyphs 4. Slippers and Thieves 5. Bandits and Ball Gowns 6. Fire and Cinder 7. Fairies and Frosting 8. Towers and Tithes 9. Evil Queens and Goblin Kings 10. Scars and Weres
This book has two main subjects which are interwoven: the attitudes of selected poets (including Neruda, Rilke, Breton, Celan, and Artaud) to the "primitive" and the “archaic,” studied from an anthropologist's viewpoint; and a model of the processes whereby poetry is produced and received, built on the author’s successful careers as both poet and anthropologist. The book includes detailed biographical information about how Tarn went from being a French to an English to an American poet. It also reveals the effect of a double career and of these moves on a unique body of poetry and theoretical work. An extremely substantial interview, serving also as an introduction to, and discussion of, the essays, demonstrates that there is nothing like this work to be found elsewhere.
Voices from the Void, is the 3rd in a series of books written by Guruji Naushir from the wisdom and knowledge gained from his Guru Mahavatar Babaji. This book touches on diverse topics spiritual, material and practical which affect our day to day lives bringing a fresh perspective on old dogmas and mothballed theories. It is a refreshing new insight into matters that have intrigued or disturbed you in the past.
Helene Cixous (1937-), distinguished not least as a playwright herself, told Le Monde in 1977 that she no longer went to the theatre: it presented women only as reflections of men, used for their visual effect. The theatre she wanted would stress the auditory, giving voice to ways of being that had previously been silenced. She was by no means alone in this. Cixous's plays, along with those of Nathalie Sarraute (1900-99), Marguerite Duras (1914-96), and Noelle Renaude (1949-), among others, have proved potent in drawing participants into a dynamic 'space of the voice'. If, as psychoanalysis suggests, voice represents a transitional condition between body and language, such plays may draw their audiences in to understandings previously never spoken. In this ground-breaking study, Noonan explores the rich possibilities of this new audio-vocal form of theatre, and what it can reveal of the auditory self.
