Upheaval (Cognizance Book 1)

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It results, in my view, in what I would characterize as a rather thin conclusion to a robust cultural analysis and diagnosis: "Tragic wisdom expressly takes into account the contingencies, uncertainties, and limitations of human understanding and the imbalances that exist in particular linguistic interactions.

In this way it invites us to take cognizance of the competing claims or warrants for belief that arise within a given conflict situation. Sherwin has the right impulses, and wants to help us navigate an obstacle-strewn path, but provides little helpful guidance.

Indeed, when he outlines the "skills and techniques" that will permit us to evaluate the "discrete claims to truth and justice" p. In my view, an affirmative postmodernism grounded in tragic wisdom is best seen and understood in the case studies Sherwin undertakes, that is, in his interpretive and diagnostic work, in contrast to his theoretical efforts.

Sherwin offers a host of suggestions which he identifies with "affirmative postmodernism," but I find them disconcertingly flat in comparison to the rich, theoretically informed, and sophisticated close readings of the various cultural texts which inform When Law Goes Pop.

AbdolKarim Soroush :: عبدالکريم سروش

To read academic writing today one needs a glossary of terms and a handbook on contemporary theory. Sherwin has done an excellent job with the exception of his efforts to describe "affirmative postmodernism" to use theory without dragging the reader into a theory thicket. It is, I think, a compliment to Sherwin to say, he is a theory man who strives not to let his theory get the best of him.

The focus in When Law Goes Pop is on ideas, analysis, and interpretations, not theory mongering. Sherwin is a thinking man who takes popular culture and visual media seriously. Texas and Chandler v. Florida , decided 16 years apart which prohibited the televising of criminal trials and then permitted it pp.

Sherwin presents a simple, elegant, and workably productive, instructive scheme on the kinds of truth we find and try to discover in the courtroom — distinguishing between factual truth, legal truth, and symbolic truth pp. He explores and helps the reader understand how representations of law in popular culture both clarify and confuse these various forms of truth. Sherwin argues that the most celebrated trials presented to us today are "cultural riddles" p.


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When Law Goes Pop is a sophisticated if speculative exploration of what happens to law "when skeptical postmodern theory, communications technology, and the demands of the marketplace converge, as they are now doing" p. He provides a way of "reading" these changes something like taking sonar readings to see what lies in the depths beyond what we most readily see and hear and an interpretation of their practical effects.

Sherwin suggests that to understand law and lawyers and the "trials" in which law exposes itself most fully, requires a new understanding of lawyers as storytellers, working with different kinds of truth, and the effect of media images and stories on both the work of lawyers and jurors.

The forces of modern culture — theory, technology, and commerce — are bearing down on us. As these forces invade a social institution like law they are going to change, erode, and threaten the virtues we associate with law — stability, meaning-making, rationality, truth, justice. The changes must be observed, and the threat studied, and this is what Sherwin has done so well.

Pol'y, Robert C. John Denvir ed. Robert M. Joseph eds. Robert E. Rosen, Ethical Soap: L. Law and the Privileging of Character, 43 U. Who knows. The speaker of these lines is himself caught up in the glare, garrulous in spite of the din. Mirrorball collects poems from to Dillon eds. Hospitably and expansively, they yield insights into the work of a poet of our time, his methods, motives, and patterns of thought.

Based in dialogue, an interview is always a collaborative venture. It discovers difference and clarifies commonalities between writer and reader. By working closely together in composing, editing and revisiting transcripts for each interview, Richard Berengarten and his five interlocutors reveal the potential of the literary interview itself, as they articulate and test its reticent boundaries. Poet and dramatist Peter Oswald has been writing sonnets alongside his other work for the best part of thirty years. This volume brings a substantial selection of them together for the first time.

Chapbook, 36pp, 8. Sonia Overall is a novelist, poet and lecturer based in Kent. This kaleidoscopic sequence of searing fragments marks the arrival of an outstanding poet. Paperback, 96pp, 8. Which is precisely what draws us to the door, to the briefly lighted windows. It has a dolorous, stately, piercing, almost martial music, like an Elizabethan court dance or Miles Davis in his electric period. It's funny too. Sandeep Parmar's powerful debut collection, The Marble Orchard , steps boldly through the personal archive of family histories to art, literature and the imagined lives of modern and ancient heroines, from Mina Loy to Ovid's Heroides.

Her experiments are set apart by their pure charge of language and textual silences, inherited from the distance between home, identity and memory. Partly a modern revision of the Helen myth, Eidolon meditates on the visible and invisible forces of Western civilisation from classical antiquity to present-day America. An eidolon is an image, a ghost, a spectre, a scapegoat.

The Eidolon, as a device, is something beauteous and beguiling — as a thing, or as a preoccupation, it is the siren song to the poet who listens for silence. Who gives Helen her voice and what need unites it into a single, constant loathsome creature?

Helen is as much the city of Troy as its famed plains and high walls. Paperback, 86pp, 8. Though pavement cafes still play a part…. Finding Kristallnacht in an optician's chart, flushing heresy from a Michelin guide, procuring princesses courtesy of furnishings catalogues and constructing a guided tour of Bedlam from the names of British moths, Alasdair Paterson brings a Byzantine range of techniques — cut-and-mosaic, palimpsest dialectic, diplomatic transplant and induced mutation — to a series of innocent texts, most without a prior thought of poetry in their heads, to build an indispensible vademecum for the imperially and post-imperially inclined.

Archilochus, ancient Greece's first lyric poet, was a soldier, part slave, part aristocrat, who took part in the earliest colonial expeditions. Perril's Archilochus has been sent into exile to colonise the moon, that curator of lost objects and desires. This collection voices the ageing poet's dissection of hope and desire, and his meditation upon the body that barely houses them. Paperback, 82pp, 8. The nekyia has long figured in literature, dating back to Book 11—itself known as the Nekyia in the classical era—of the Odyssey. So that to write is to read ourselves into being alive in forms we have no further proof of than the act of the poem's own declaration.

Textual Possessions is the first large collection by Peter Philpott for many years. Peter Philpott is editor of the online poetry journal Great Works. Are We Not Drawn … takes off from a palindrome quoted in Anne Michael's novel, Fugitive Pieces: "Are we not drawn onward, we few, drawn onward to new era?

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The mirrors are now fractured: each line breaks under the strain, as voices and images pour in. Verbal repetitions, starting with the words of the palindrome, give some sorts of paths through, continually evolving and shifting. Just listen to what you are being told…. Paperback, 72pp, 8.

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Full of grace and wonder, and a grasp of complex forms which have been chewed carefully before being spat out again, this is poetry of the highest order, proving without question that there are no ideas but in sings. She had a home on Exmoor and this landscape is reimagined through a combination of science and poetics, also part of a collaboration with visual poet Tilla Brading, ADADA:landescape. Ada loved birds, especially song birds, and studied the theory of flight. The Shearsman Library 7. This edition gives the work a little more air than in the original — avoiding run-on texts — but is otherwise unchanged.

Halse is Exmoor dialect for hazel, as transcribed by local historian Hazel Eardley-Wilmot: a convergence of names which initiates a new poetic syntax of marginal trees and tongues. Halse for hazel has three sections, Halse, Col and Hassel: alternate and playful names for hazel, which map wide ranging geographic and linguistic areas, as well as political and environmental pressures. Halse begins with Exmoor tree names and ends with Lorna Doone, while Col moves from an irreverent Celtic tree alphabet to Atlantic woods in Scotland where hazel dominates.

The visual design of the text is shaped by the language of trees and their strange physical evolution, in dialogue with the images of Irma Irsara. The book also contains a recent collaboration with American poet and artist Julia Cohen, commissioned for Likestarlings. Frances Presley's Lines of sight brings together all her poems from 'Stone settings and longstones', a sequence framed by the Neolithic stone monuments on Exmoor.


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