Absent The Archive

Absent the Archive is the first cultural history devoted to literary and visual representations of the police massacre of peaceful Algerian protesters. This corpus, or anarchive, includes a variety of cultural texts whose formal, diegetic, and discursive strategies represent the massacre and its erasure, its "becoming invisible," and its afterlives as a trace, a memory, a sign.

An experience of the fragility of conventional images of masculinity is something many modern men share. Psychoanalyst Guy Corneau traces this experience to an even deeper feeling men have of their fathers' silence or absence—sometimes literal, but especially emotional and spiritual. Why is this feeling so profound in the lives of the postwar "baby boom" generation—men who are now approaching middle age? Because, he says, this generation marks a critical phase in the loss of the masculine initiation rituals that in the past ensured a boy's passage into manhood. In his engaging examination of the many different ways this missing link manifests in men's lives, Corneau shows that, for men today, regaining the essential "second birth" into manhood lies in gaining the ability to be a father to themselves—not only as a means of healing psychological pain, but as a necessary step in the process of becoming whole.

Help Dink, Josh, and Ruth Rose solve mysteries from A to Z! Kids love collecting the entire alphabet and super editions! With over 8 million copies in print, the A to Z Mysteries® have been hooking chapter book readers on mysteries and reading for years. Now this classic kid favorite is back with a bright new look! A is for Author . . . A famous writer is coming to Green Lawn! Dink rushes to the bookstore to meet his favorite author, Wallis Wallace, and get all his books signed. But the author never shows up! Where is Wallis Wallace? It’s up to Dink and his friends Josh and Ruth Rose to track him down.

An exploration of exaggerated cases of conspiracy theories which helps to reveal why traditional modes of argument fail against unwarranted, unsound, or untrue evidence.

The Berlin Sound Archive (Lautarchiv) consists of an extensive collection of sound recordings, compiled for scientific purposes in the first half of the 20th century. Recorded on shellac are stories and songs, personal testimonies and poems, glossaries and numbers. This book engages with the archive by consistently focusing on recordings produced under colonial conditions. With a firm commitment to postcolonial scholarship, Absent Presences in the Colonial Archive is a historical ethnography of a metropolitan institution that participated in the production and preservation of colonial structures of power and knowledge. The book examines sound objects and listening practices that render the coloniality of knowledge fragile and inconsistent, revealing the absent presences of colonial subjects who are given little or no place in established national narratives and collective memories.

As a depository of civic record and social history whose very name derives from the Greek word for town hall, the archive would seem to be a public entity, yet it is stocked with the personal, even intimate, artifacts of private lives. It is this inherent tension between public and private which inaugurates, for Derrida, an inquiry into the human impulse to preserve, through technology as well as tradition, both a historical and a psychic past. What emerges is a marvelous expansive work, engaging at once Judaic mythos, Freudian psychoanalysis, and Marxist materialism in a profound reflection on the real, the unreal, and the virtual.

Transnational cinemas are eclipsing national cinemas in the contemporary world, and Sino-French films exemplify this phenomenon through the cinematic coupling of the Sinophone and the Francophone, linking France not just with the Chinese mainland but also with the rest of the Chinese-speaking world. Sinophone directors most often reach out to French cinema by referencing and adapting it. They set their films in Paris and metropolitan France, cast French actors, and sometimes use French dialogue, even when the directors themselves don't understand it. They tend to view France as mysterious, sexy, and sophisticated, just as the French see China and Taiwan as exotic. As Michelle E. Bloom makes clear, many films move past a simplistic opposition between East and West and beyond Orientalist and Occidentalist cross-cultural interplay. Bloom focuses on films that have appeared since 2000 such as Tsai Ming-liang's What Time Is It There? , Hou Hsiao-hsien's Flight of the Red Balloon, and Dai Sijie's Balzac and the Little Chinese Seamstress. She views the work of these well-known directors through a Sino-French optic, applying the tropes of métissage (or biraciality), intertextuality, adaptation and remake, translation, and imitation to shed new light on their work. She also calls attention to important, lesser studied films: Taiwanese director Cheng Yu-chieh's Yang Yang, which depicts the up-and-coming Taiwanese star Sandrine Pinna as a mixed race beauty; and Emily Tang Xiaobai's debut film Conjugation, which contrasts Paris and post-Tiananmen Square Beijing, the one an incarnation of liberty, the other a place of entrapment. Bloom's insightful analysis also probes what such films reveal about their Taiwanese and Chinese creators. Scholars have long studied Sino-French literature, but this inaugural full-length work on Sino-French cinema maps uncharted territory, offering a paradigm for understanding other cross-cultural interminglings and tools to study transnational cinema and world cinema. The Sino-French, rich and multifaceted, linguistically, culturally, and ethnically, constitutes an important part of film studies, Francophone studies, Sinophone studies and myriad other fields. This is a must-read for students, scholars, and lovers of film.

This volume offers new and challenging interdisciplinary approaches to the use and study of literary archives. Interrogating literary and archival methodology and foregrounding new forms of textual scholarship, the collection includes essays from both academics and archivists to address the full complexity of the study of modern literary archives. The authors examine the increasing prominence of archives and their importance to the interdisciplinary study of textual history in the 21st century, exploring both emerging and established areas of literary history. The book is marked by its attention to four distinct core threads that allow the authors to traverse a range of historical periods and literary figures: archival theory and textual production, authorial legacies and digital cultures, gender issues in the archive, and the practical concerns of archival research and curatorship. By offering an investigation of material from a range of historical periods within distinct methodological groupings, the volume seeks to encourage interplay between scholars working in different fields around similar essential questions of methodology, whilst presenting a rich account of archives worldwide.

In the second installment of this richly imagined fantasy adventure series, a new threat from within the Library could destroy those who depend upon it the most. The Library of the Unwritten in Hell was saved from total devastation, but hundreds of potential books were destroyed. Former librarian Claire and Brevity the muse feel the loss of those stories, and are trying to adjust to their new roles within the Arcane Wing and Library, respectively. But when the remains of those books begin to leak a strange ink, Claire realizes that the Library has kept secrets from Hell--and from its own librarians. Claire and Brevity are immediately at odds in their approach to the ink, and the potential power that it represents has not gone unnoticed. When a representative from the Muses Corps arrives at the Library to advise Brevity, the angel Rami and the erstwhile Hero hunt for answers in other realms. The true nature of the ink could fundamentally alter the afterlife for good or ill, but it entirely depends on who is left to hold the pen.