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Saying All That Can Be Said : The Art of Describing Sex in Jin Ping Mei /
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In Saying All That Can Be Said , Keith McMahon presents the first full analysis of the sexually explicit portrayals in the Ming novel Jin Ping Mei 金瓶梅 (The Plum in the Golden Vase). Countering common views of those portrayals as "just sex" or as "bad sex," he shows that they are rich in thematic meaning and loaded with social and aesthetic purpose. McMahon places the novel in the historical context of Chinese sexual culture, from which Jin Ping Mei inherits the style of the elegant, metaphorical description of erotic pleasure, but which the anonymous author extends in an exploration of the explicit, the obscene, and the graphic. The novel uses explicit description to evaluate and comment on characters, situations, and sexual and psychic states of being. Echoing the novel's way of taking sex as a vehicle for reading the world, McMahon celebrates the richness and exuberance of Jin Ping Mei's language of sex, which refuses imprisonment within the boundaries of orthodox culture's cleanly authoritative style, and which continues to inspire admiration from readers around the world. Saying All That Can Be Said will change the way we think about sexual culture in premodern China. See Less
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Includes bibliographical references and index. :
9780674291355
9781684176564
Hathor's alchemy : the ancient Egyptian roots of the hermetic art /
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Ever since alchemy first emerged in Graeco-Roman Egypt, alchemists have said their wisdom came from the pharaonic temples. Yet though the West has had unprecedented access to this hidden knowledge since the decipherment of hieroglyphs, ancient Egypt's connection with alchemy still remains obscure, doubted even by many. Focussing on the beautiful temples at Abu Simbel and Dendara, dedicated to the fiery serpent-eye goddess Hathor, this groundbreaking book explores for the first time the legacy left to alchemists by the pharaohs. It also goes deep into Ramesses VI's extraordinary tomb at Thebes to discover the secrets of growth and renewal guarded by Osiris and vivified by Hathor's copper love. Both metallurgical and mystical, these sacred secrets laid the foundations for the Hermetic art. The transmission initially came through Graeco-Egyptian and Jewish alchemists, then Islamic adepts, many of whom were Sufis belonging to an Akhmim alchemical lineage, until eventually Hathor's alchemy reached medieval Europe to inspire the 'rising dawn' tradition. And with a spiritual vision grounded in nature, it still has vital relevance for our world today.
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336 pages : illustrations (some color) ; 23 cm. :
Includes bibliographical references and index. :
0952423332
9780952423331
Old Kingdom, new perspectives : Egyptian art and archaeology 2750-2150 BC /
: "Proceedings of the Old Kingdom Art and Archaeology Conference, held May 20-23, 2009 at the Fitzwilliam Museum in Cambridge". : 319 pages : illustrations (some color), maps (some color) ; 29 cm. : Includes bibliographical references. : 9781842174302
Animals, gods and men from East to West : papers on archaeology and history in honour of Roberta Venco Ricciardi /
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The 21 articles collected in this commemorative volume centre on animals in relation to men and gods.
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OCLC 853508284 :
x, 206 pages : illustrations ; 30 cm. :
Includes bibliographical references. :
9781407311340 :
https://catalog.loc.gov/vwebv/staffView?searchId=3442&recPointer=0&recCount=25&searchType=0&bibId=17817016
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The locus of tragedy /
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Ask for the tragic and Europe will answer. Leaving behind the philosophers' enthusiasm of the nineteenth century, 'tragedy' and 'the tragic' now seem little more than vague containers. However, it appears that we still discover a tragic essence in our personal lives. Time and again tragedy is being registered, written down and staged. This book wants to open a contemporary philosophical perspective on the tragic. What is the locus of tragedy? Does it relate to metaphysics, the gods, destiny, and chance? Or is it a matter of ethics, of the Law and its transgression? Does man himself occupy the locus of tragedy, because of his unreasonable and boundless desires, as many philosophers have suggested? Is man today still able to account for his tragic condition? Or do we locate the tragic first and foremost in the esthetic imagination? Is not the theatrical genre of tragedy the locus authenticus of all things tragic? Is there more to the tragic than drama and play?
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1 online resource. :
Includes bibliographical references. :
9789047443223 :
Available to subscribing member institutions only.
Heidegger and Nietzsche /
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This volume contains new and original papers on Martin Heidegger's complex relation to Friedrich Nietzsche's philosophy. The authors not only critically discuss the many aspects of Heidegger's reading of Nietzsche, they also interpret Heidegger's thought from a Nietzschean perspective. Here is presented for the first time an overview of not only Heidegger's and Nietzsche's philosophy but also an overview of what is alive - and dead - in their thinking. Many authors through a reading of Heidegger and Nietzsche deal with current issues such as technology, ecology, and politics. This volume is of interest for everyone interested in Heidegger's and Nietzsche's thought. Contributors include: Babette Babich, Charles Bambach, Robert Bernasconi, Virgilio Cesarone, Stuart Elden, Michael Eldred, Markus Enders, Charles Feitosa, Véronique Fóti, Luanne T. Frank, Jeffery Kinlaw, Theodore Kisiel, William D. Melaney, Eric Sean Nelson, Abraham Olivier, Friederike Rese, Karlheinz Ruhstorfer, Harald Seubert, Robert Sinnerbrink, Robert Switzer, Jorge Uscatescu Barrón, Nancy A. Weston, Dale Wilkerson, Angel Xolocotzi, Jens Zimmermann
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1 online resource (455 pages) :
Includes bibliographical references. :
9789401208741 :
Available to subscribing member institutions only.
Rome and the worlds beyond its frontiers /
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This volume offers an expansive approach to interactions between Romans and those beyond the borders of Rome. The range of papers included here is wide, both in terms of subject matter and with respect to approach. That said, a number of important themes bind the essays. Who is an insider, and who the outsider? How were these categories of person, or identity, fashioned and/or recognized in antiquity? How shall we recognize them now? What are the categories, or standards, for measuring or determining inside and outside in the Roman world? And then, of course, what are the repercussions when inside and outside come into contact? What happens when the outside is in, or the inside out?
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1 online resource (xii, 262 pages) :
Includes bibliographical references and indexes. :
9789004326750 :
1572-0500 ; :
Available to subscribing member institutions only.
After orientalism : critical perspectives on western agency and eastern re-appropriations /
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The debate on Orientalism began some fifty years ago in the wake of decolonization. While initially considered a turning point, Edward Said's Orientalism (1978) was in fact part of a larger academic endeavor - the political critique of "colonial science" - that had already significantly impacted the humanities and social sciences. In a recent attempt to broaden the debate, the papers collected in this volume, offered at various seminars and an international symposium held in Paris in 2010-2011, critically examine whether Orientalism, as knowledge and as creative expression, was in fact fundamentally subservient to Western domination. By raising new issues, the papers shift the focus from the center to the peripheries, thus analyzing the impact on local societies of a major intellectual and institutional movement that necessarily changed not only their world, but the ways in which they represented their world. World history, which assumes a plurality of perspectives, leads us to observe that the Saidian critique applies to powers other than Western European ones - three case studies are considered here: the Ottoman, Russian (and Soviet), and Chinese empires. Other essays in this volume proceed to analyze how post-independence states have made use of the tremendous accumulation of knowledge and representations inherited from previous colonial regimes for the sake of national identity, as well as how scholars change and adapt what was once a hegemonic discourse for their own purposes. What emerges is a new landscape in which to situate research on non-Western cultures and societies, and a road-map leading readers beyond the restrictive dichotomy of a confrontation between West and East. With contributions by: Elisabeth Allès; Léon Buskens; Stéphane A. Dudoignon; Baudouin Dupret; Edhem Eldem; Olivier Herrenschmidt; Nicholas S. Hopkins; Robert Irwin; Mouldi Lahmar; Sylvette Larzul; Jean-Gabriel Leturcq; Jessica Marglin; Claire Nicholas; Emmanuelle Perrin; Alain de Pommereau; François Pouillon; Zakaria Rhani; Emmanuel Szurek; Jean-Claude Vatin; Mercedes Volait
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Original French title: Après l'orientalisme : l'Orient créé par l'Orient.
Includes index. :
1 online resource (xiii, 289 pages) :
Includes bibliographical references and index. :
9789004282537 :
Available to subscribing member institutions only.
Crutched Pharaoh, Seated Hunter: An Analysis of Artistic Portrayals of Tutankhamun’s Disabilities /
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Academic and popular sources alike regularly refer to Tutankhamun as “disabled” at the time of his death, citing artistic representations from the items in his tomb to back up such claims. This group of objects has been said to depict the young king seated while hunting and using a staff as a walking aid seemingly highlighting the presence of a leg-based disability. This narrative of the image depicting the truth of Tutankhamun’s physical condition has publicly become accepted as fact with images of the seated king even being used in the advertising for the touring exhibit “Tutankhamun: Treasures of the Golden Pharaoh” to suggest Tutankhamun’s “fragile constitution.” A comparison of these depictions to historical representations of kings hunting and using staffs of authority, however, suggests that these depictions of Tutankhamun were part of a traditional iconography utilized by Tutankhamun’s artists, not to highlight his disability, but instead to situate his image within the artwork of kings of the Old, Middle, and New Kingdoms. This study, thus, works to dispel the pervasive myth of the existence of artistic representations of a disabled Tutankhamun, while providing a basis for understanding the true nature of the representation of disability in Egyptian art. Furthermore, this work urges Egyptologists to avoid relying on physical remains to “decipher” mortuary artwork. Such a change in method can only lead to a better understanding of the purpose of the depicted body within the mortuary context and its role as separate but complementary to the physical body in New Kingdom thought.