Robin Lakoff gets to the heart of one of the most fascinating and pressing issues in American society today: who holds power and how they use it, keep it, or lose it. In a brilliant and vastly entertaining discussion of news events that have occupied an enormous amount of media space--political correctness, the Anita Hill/Clarence Thomas hearings, Hillary Rodham Clinton as First Lady, O. J. Simpson's murder trial, the Ebonics controversy, and the Clinton sex scandal--Lakoff shows that the struggle for power and status at the end of the century is being played out as a war over language. Controlling language is a basis for all power, she says, and therefore it is worth fighting for. As a result, newly emergent groups, especially blacks and women, are contending with middle- to upper-class white men for a share in "language rights." Lakoff's introduction to linguistic theories and the philosophy of language lays the groundwork for an exploration of news stories that meet what she calls the UAT (Undue Attention Test). As the stories became the subject of talk-show debates, late-night comedy routines, Web sites, and magazine articles, they were embroidered with additional meanings, depending on who was telling the story. Race, gender, or both are at the heart of these stories, and each one is about the right to construct meanings from languagein short, to possess power. Because language tells us how we are connected to one another, who has power and who does not, the stories reflect the language war. We use language to analyze what we call "reality," the author argues, but we mistrust how language is used today--witness the "politics of personal destruction" following the Clinton impeachment. Yet Lakoff sees in the struggle over language a positive goal: equality in the creation of our national discourse. Her writing is accessible and witty, and her excerpts from the media are used to great effect.

Dive into a compelling work of literary criticism with "Drug themes in science fiction" by the esteemed Robert Silverberg. This authoritative volume offers a meticulous exploration and comprehensive bibliography of drug-related themes across speculative fiction. Silverberg, a master of the genre, insightfully examines the diverse ways drugs-real and imagined-have been portrayed within American and English science fiction. From their roles in societal commentary to their impact on individual characters and narrative progression, this book uncovers the profound and often complex presence of psychoactive substances in literary imagination. It serves as both a critical analysis of recurring motifs and an invaluable reference for anyone researching the genre. For readers captivated by literary themes, the history of science fiction, or the enduring dialogue between human experience and altered states of consciousness, "Drug themes in science fiction" provides an essential, detailed, and timeless perspective on a fascinating corner of literature. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Sick of vampire books? Movies? TV shows? Yeah. So are we. Sick of the entire unlife of vampires? Yeah. So is Vince Hammond. Unfortunately, Vince is in it up to his (wait for it) neck. Because Vince is a young vampire hunter who lives with his vampire hunter mother in an entire community of vampire hunters, who in turn are part of a cult of vampire hunters going back all the way to the French Revolution, which many believe to be an uprising of the poor against the rich but was actually a massive purging of vampires from the French nobility (hence the guillotine; way more efficient than shoving stakes into their hearts.) And here’s Vince’s major problem: he’s a vampire. But he dare not “come out of the coffin,” as it were, and reveal his true nature, because his mother will literally kill him. And if she doesn’t manage it, she has lots of friends and neighbors to help make sure that happens. So instead Vince has to keep his head down and hunt his own kind while making sure not to actually kill them since, for the most part, vampires are law-abiding citizens who drink from eagerly volunteering “Wanna V’s” hoping for their own shot at the night life. But when some out-of-town hunters show up with a very personal connection to Vince, his two worlds are going to collide in a way that may wind up forcing Vince to run for the hills…assuming he can get far enough away before Mom hunts him down.

Pp. 153-163, "The Poetry of Exile, " discuss the life and work of Paul Celan. Many of his poems dealt with the Holocaust, since for him it was the first cause and last effect of an entire cosmology. He also attempted to make sense of what happened and to come to grips with his Jewishness.

THE STORY: AFTER MISS JULIE transposes August Strindberg's 1888 play about sex and class to an English country house on the eve of Labour's historic landslide in 1945.

Drama

Rev. ed. of: Child of light. 1951. Describes the life of the author of "Frankenstein" and wife of the famous poet Percy Bysshe Shelly.

A collection of essays, poems and short stories by Jewish authors most published between 1994-2000.

The 900-day siege of Leningrad was one the turning points of the Second World War. It slowed down the German advance into Russia and became a national symbol of survival and resistance. From her own experience of the blockade and using facts, conversations, and impressions collected over many years, Lidiya Ginzburg has created a remarkable everyman hero in whom she distils the collective experience of life under siege. Though the author may depict, often painfully, the hunger and harrowing conditions of that period, the reader takes away a different impression—the dignity, vitality, and intellectual resilience of the thinking mind as it records and makes sense of extreme experience.

"Between 1978 and 1979, Jacques Derrida delivered a seminar on the themes of "the gift" and "time" titled "Donner-le temps." The first part of that seminar was published in 1991. Given Time II is an archival discovery of the second installment that was promised but never came to fruition during Derrida's lifetime. The eight seminar sessions collected here represent Derrida's most advanced work on the problematic of the gift in Heidegger's thought, with deep dives into some of the richest and most difficult texts in the Heideggerian corpus, such as the essays "The Origin of the Work of Art," "The Thing," and "On Time and Being." Beyond Heidegger, Derrida skillfully engages Claude Lévi-Strauss, Marcel Mauss, Maurice Blanchot, Jacques Lacan, and others on the topic of the gift. The themes discussed include the act of giving and receiving gifts, the necessary link between time and the gift, being as some "thing" given that exceeds things and beings as such, the sacrificial gift, and others. Through these analyses, Derrida begins to identify the paradox of gift giving: For the gift to be received as a gift, it must not appear as such, since its mere appearance as gift puts it in the cycle of repayment and debt. Given Time II is a remarkable and uniquely Derridean treatment of an important subject in the work of Heidegger and beyond"-- Provided by publisher.

A brilliantly original exploration of the interface between feminism, psychoanalysis, semiotics and film theory.-- Publisher description.

Essays recall Winston Churchill, Franklin Roosevelt, Aldous Huxley, Albert Einstein, various Russian writers, and other twentieth century figures the author has known.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

"With its broad selection from written and oral sources, Leaves from the garden of Eden is a landmark collection, representing the full range of Jewish folklore from the Talmud to the present"--Dust jacket.

It is a wild night in the emergency room when Claudia Stuyvesant, daughter of a powerful real estate tycoon, is admitted with stomach pains. Kate Forrester, a dedicated young doctor on duty alone, is juggling gunshot wounds, cardiac arrests, and a heartbreaking case of child abuse. Claudia's pains seem minor and all tests are negative but a few hours later she's dead and Kate is facing a father's charge of malpractice and manslaughter. Kate's innocence is clear, but fearing a ruinous lawsuit and attacks by the media, the hospital authorities abandon her. Her only hope is to prove that Claudia lied to her and find out why. Kate finds an ally in Scott Van Cleve, an idealistic young lawyer who gambles his own reputation and career to save hers. "Doctor on Trial" is an unforgettable a compelling medical drama about today's hospitals in crisis and the devoted young doctors on the firing line.

Description of a Struggle is a three-part story written by Franz Kafka between 1903 and 1907. It constitutes his oldest surviving work and was only published after his death. The first and third sections describe Prague society- and night-life from the point of view of the author and his acquaintance. The central section can be viewed as a fantastical dream sequence divided into several sub-sections. Kafka wrote two versions of this story.