![]() ![]() ![]() ![]() The paper makes an argument about the performance of counter-power, showing how whilst the apartheid complex retained its command over economic, military, and political power, it struggled to control the social drama that was unfolding on the cultural plane, therefore losing its grip on one key element of ideological power. We show how this took place within a remarkably restrictive context, which on the one hand constrained performances, but on the other augmented their dramatic efficacy. We outline how the BCM challenged the psychological internalisation of white supremacy and asserted citizenship claims through a variety of performative techniques, many of which explicitly and implicitly reiterated earlier rights-based claims both in South Africa and abroad. This paper introduces the concept of 'performative citizenship' to account for the manner in which the Black Consciousness Movement (BCM), and in particular its charismatic leader Steve Biko, transformed a collection of relatively abstract philosophical ideas into concrete political praxis. ![]()
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![]() 'I'm afraid I can't,' he said, more polite than if he had not felt the enormity of Robinson's need. Lewis knew that Robinson, for whatever private reasons, would fasten on him like a barnacle if he allowed him to. ![]() ![]() If Robinson could have handcuffed Lewis and dragged him across the street, he would have. Why don't you come over to my place, have a good stiff drink? I'd like to hear about your experiences, chew the fat a little bit, check out your insurance situation, just for the record - there's nobody at home here anyhow -' like Jim Hardie, he grabbed Lewis's arm, and Lewis, harassed and miserable as he was, sensed desperation and hunger in the man. You don't want to stand here in the cold. "Lewis was looking at the ground, not bothering to reply to these horrible remarks, and Freddy Robinson rushed into the silence to add, 'hey, you look kind of crapped out. Freddy Robinson, the insurance agent, and the next victim of the Nightcrawler: ![]() ![]() ![]() ![]() A particular strength is the way elements in this novel connect with clues from earlier entries. Her romance with Ravi Singh is a much-needed balm, but their love is tragically tested. This volume centers on a psychologically traumatized Pip, whose actions inhabit morally gray areas till the very end. Research into her own stalker leads to an imprisoned serial killer who supposedly confessed, but the connections are striking, and Pip fears the police may have the wrong man. ![]() Pip is used to online threats, but one message has been appearing again and again: “Who will look for you when you’re the one who disappears?” Someone is leaving dead pigeons in Pip’s front yard and mysterious chalk figures in her driveway, but Detective Hawkins doesn’t believe there’s a pattern and refuses to investigate. To cope with her PTSD, Pip takes Xanax purchased from drug dealer Luke Eaton, who indirectly supplied the late Andie Bell, the subject of her first case. She blames herself for the death of local journalist Stanley Forbes, who was revealed to be the child of a serial killer, but she also feels a kinship with his killer, Charlie Green, who is on the run. It’s not easy being Pippa Fitz-Amobi: Max Hastings, a teen rapist who was found not guilty, is suing her for defamation. Everything comes full circle in this trilogy closer. ![]() ![]() A New York native, Sarah lives in Pennsylvania with her husband and dog. ![]() Her books are published in over thirty-six languages. ![]() Maas is the #1 New York Times and internationally bestselling author of the Throne of Glass series, as well as the Court of Thorns and Roses series. and whom she will fight for.Īn action-packed and romantic adventure that readers "will never want to leave" ( Kirkus Reviews ), the next chapter in this smash hit New York Times best-selling series is sure to please Sarah Maas's enormous and ever-growing fan-base-and to set the stage for an explosive third book. She must decide once and for all where her loyalties lie. Then, an unspeakable tragedy shatters Celaena's world. ![]() As Celaena tries to untangle the mysteries buried within the glass castle, she can trust no one, not even her supposed allies Crown Prince Dorian, Captain of the Guard Chaol, and foreign princess Nehemia. But working against her master in secret is no easy task. Celaena Sardothien is the king's Champion-yet she is far from loyal to the crown, for the man she serves is bent on evil. ![]() ![]() ![]() ![]() In the course of his long and mostly successful civil service career, he was a few times for short periods transferred to the provinces, but the last twenty years of his life he spent almost continuously in the capital or on his estate south of Changan. In 721 he obtained the prestigious jinshi degree in the Chinese exam system. He came to the cosmopolitan capital Changan at an early age (19), where he drew the attention of the highest circles through his gifts as a musician and poet. Wang Wei was born into one of the most important families of his day. ![]() He was one of the most famous poets of his time - some 400 of his poems survive. Wang Wei (699–759) was a Chinese poet, painter, calligrapher and musician of the Tang period. [After Wang Wei's "Snow Over Rivers and Mountains" Our talk and laughter make me forget to go home. When I feel like it, I go there on my own, Late in life I made my home at South Mountain's slope. Since the middle of my life, I am much drawn to the Way, The philosopher's stone is unattainable. West of the Yanguan Pass, you don't have any old friends.Īn empty room, almost the second watch at night. I urge you to drink one more cup of wine. The inn is surrounded by the fresh green of the willows. The morning rain at Weicheng drenches the light dust, (6) In farewell to Yuan Er, on his going to Anxi The spring grass will be green again next year, You say your ambitions were not fulfilled,Īnd you return to the flanks of South Mountain. Eight Poems by Wang Wei translated by Ad Blankestijn ![]() ![]() How was the developing process of the story in this book? What came first: the concept of "unwind" or the idea of young people fighting the system? In Unwind you show us a terrifying future where young people can be retroactively aborted any time before t heir eighteenth birthday. ![]() My goal was to take that metaphor of the “world in-between” and create a entirely new, and fresh reality that we haven’t seen before, with it’s own rules, it’s own wonders, and it’s own terrors. A place where they can’t rely on adults to tell them what to do. It’s a place they have to navigate for themselves. Teenager’s lives are all about being “in-between.” Not quite children, and not quite adults. A place that’s in between life and death. ![]() It’s not that their souls go there – it’s that sometimes they get stuck there on the way to where they’re supposed to be going. How did the idea of that place come to you? In the Skinjacker Trilogy you write about a world where children's souls go when they die: Everlost. The only censorship issues I ever have for my books are from people who haven’t actually read them. Not just kids, but teachers and parents, too. ![]() I like to ask hard questions, and really challenge readers to think. I do address difficult subjects, but I do it responsibly. Why that choice of topics? Has censorship never worried you? As a writer, you adress very controversial issues like children's death or abortion. ![]() ![]() ![]() Part II distills these insights into five key principles for trauma-sensitive mindfulness. Through grounded scholarship and wide-ranging case examples, Treleaven illustrates the ways mindfulness can help-or hinder-trauma recovery. Part I provides an insightful and concise review of the histories of mindfulness and trauma, including the way modern neuroscience is shaping our understanding of both. This raises a crucial question for mindfulness teachers, trauma professionals, and survivors everywhere: How can we minimize the potential dangers of mindfulness for survivors while leveraging its powerful benefits? Trauma-Sensitive Mindfulness offers answers to this question. Instructed to pay close, sustained attention to their inner world, survivors can experience flashbacks, dissociation, and even retraumatization. Drawing on a decade of research and clinical experience, psychotherapist and educator David Treleaven shows that mindfulness meditation-practiced without an awareness of trauma-can exacerbate symptoms of traumatic stress. ![]() At first glance, this appears to be a good thing: trauma creates stress, and mindfulness is a proven tool for reducing it. This means that anywhere mindfulness is being practiced, someone in the room is likely to be struggling with trauma. ![]() ![]() At the same time, trauma remains a fact of life: the majority of us will experience a traumatic event in our lifetime, and up to 20% of us will develop posttraumatic stress. From elementary schools to psychotherapy offices, mindfulness meditation is an increasingly mainstream practice. ![]() ![]() ![]() It probably goes Gandalf, Anne Shirley, and then Flagg (and what a group that is!). ![]() Review: I’m sure that this has been brought up before, but one of my favorite literary characters of all time is Stephen King’s Randall Flagg, the villainous but charismatic demon from multiple works in the Stephen King Universe. Imprisoned in a tower, Peter conceives an escape plan that will take him years to execute before taking on Flagg, the powerful sorcerer who has masterminded this coup. Peter and his loyal friends must battle an evil wizard and Peter’s usurper brother, Thomas, for the throne. Where Did I Get This Book: An eBook from the library!īook Description: Once upon a time, in the Kingdom of Delain, King Roland is murdered and his son and heir, Peter, is framed for the crime. Publishing Info: Signet Books, February 1987 Book: “The Eyes of the Dragon” by Stephen King ![]() ![]() ![]() ![]() Yeah, sounds like a solid idea - let's write a novel about poor GUI design!Įven if I'd believe such a design, then you tell me that it's an organically grown open source VR-internet and nobody has thought up to add a freakin menu bar to the (probably) several tens of clients already written to access it. Oh no, she will perish in this tragic world where she cannot close her Solitaire! Sounds like a granny behind computer who doesn't know how to close a program when the menu-bar is auto-hidden. Because you are too "immersed in the VR". ![]() ![]() Third, everybody uses a system where you cannot "reach the menu" if it's not the end of the game or the menu is not implicitly programmed into the application. Really? Does the author even understand anything about the hacker mindset? Second, the first description of VR goggles - it will give you warm or cold air depending where you are. And all this talk about "frying the system" - people have offline backups and secondary machines for that you know. There would be several layers of virtualization and other security measures etc. How else would you explain "hacking", where it means people executing bat-files in Windows?!įirst, no respectable hacker would ever use Windows. It's like a bad iteration of Neuromancer by a person who doesn't really get computers. ![]() ![]() Novels, she realised, were full of artificial and embarrassing contrivances: plot, character, dialogue, suspense. By the time she recovered from what she described as “creative death”, she had made some important decisions. ![]() Following the critical mauling of Aftermath, Cusk found herself unable to write for several years. Each memoir appeared to be on the rebound from the one before, a phoenix-like act of self-destruction that laid the path for creative reinvention.īut not without burning the author. Three vivisections of English middle-class domesticity followed ( In the Fold, Arlington Park and The Bradshaw Variations), interspersed with two more unsparingly candid essayistic works, about her disastrous attempt to move abroad ( The Last Supper: a Summer in Italy in 2009) and then her divorce ( Aftermath: On Marriage and Separation in 2012). ![]() It was motherhood that prompted it – her memoir, A Life’s Work: On Becoming a Mother (2001), was about as pure an expression of outrage at the indignities and injustices of childbearing as seems publishable, and marked a shift from the acerbic social comedies of her early career. ![]() Oh to have a midlife crisis as fruitful as Rachel Cusk’s! The 54-year-old novelist has been in a state of inspired cataclysm for at least two decades now. ![]() |