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From the international bestselling and Booker Prize nominated author of The Slap comes a blazingly brilliant new novel. Winner of the 2006 Age Fiction Prize Winner of the 2006 Melbourne Best Writing Award Part long-forgotten myth, part meditation on the violence and tragedy of contemporary Europe, Dead Europe is an unsettling story about blood lust and blood revenge; a novel of blazing brilliance from the acclaimed author of The Slap. Isaac, a young Australian photographer, is travelling through Europe. His whole life he has longed for the sophistication and wealth of the Europe of his father's stories, the Europe at the centre of civilization and culture. But behind the facade of a unified and globalized contemporary society, he finds a history-blasted wasteland, a place forever condemned by the ghosts of its unspeakable past. In the mountain village in the Balkans where his mother was born, he unearths ancient terrors that have not been laid to rest, and perhaps never can be.
This book examines the linkages between the music and message of the Grateful Dead and the Christian gospel. The Grateful Dead emerged from the San Francisco “hippie” scene in the late 1960s, and offered a message of community and divine encounter. While the Dead drew on the teachings of many spiritual traditions, the band’s ethos echoed quite powerfully the wisdom of Christian Scripture. This reflection examines the ways in which the Grateful Dead embodied Christian teachings in areas of community, praise, and service. The Grateful Dead left an enduring legacy, whose power and longevity stem in significant part from the confluence of values between the Gospel and Grateful Dead.
This is the first theoretically informed study of Tsiolkas’s work. It follows the arc of his controversial career, and explores the tensions between political radicality, transgressive sexuality and his more recent commercial success.
Honoring relatives by tending graves, building altars, and cooking festive meals has been an honored tradition among Latin Americans for centuries. The tribute, "el Dia de los Muertos," has enjoyed renewed popularity since the 1970s when Latino activists and artists in the United States began expanding "Day of the Dead" north of the border with celebrations of performance art, Aztec danza, art exhibits, and other public expressions. Focusing on the power of ritual to serve as a communication medium, Regina M. Marchi combines a mix of ethnography, historical research, oral history, and critical cultural analysis to explore the manifold and unexpected transformations that occur when the tradition is embraced by the mainstream. A testament to the complex nature of ethnic identity, Day of the Dead in the USA provides insight into the power of ritual to create community, transmit oppositional messages, and advance educational, political, and economic goals.
This multidisciplinary edited collection turns the postcolonial critical gaze back on Europe itself, arguing that racism is alive and dangerously well and examining a variety of postcolonial criticism in order to understand a variety of racisms: those of false respect, reaction, and surveillance. Racism Postcolonialism Europe wisely suggests that all of these forms of postcolonial racism occur under the guise of representing the interests of the European people— which is a very different entity than the European population as a whole. This volume—which includes contributions from Griselda Pollock, Michel Wieviorka, and Philomena Essed—will be required reading for scholars and students of race, postcolonial studies, sociology, and cultural studies alike.
'Appreciating each other's funerary practices allowed the Wendats and French colonists to find common ground where there seemingly would be none. This title analyzes these encounters, using the Feast of the Dead as a metaphor for broader Indian-European relations in North America." -- WorldCat.
This book is another one of those late-night Grateful Dead inspired dorm room conversations with friends . . . only this time it’s your professors sitting cross-legged on the floor asking if anyone else wants to order a pizza. The Grateful Dead emerged from the San Francisco counter-culture movement of the late 1960s to become an American icon. Part of the reason they remain an institution four decades later is that they and their fans, the Deadheads, embody deviation from social, artistic, and industry norms. From the beginning, the Grateful Dead has represented rethinking what we do and how we do it. Their long, free-form jams stood in stark contrast to the three minute, radio friendly, formulaic rock that preceded them. Allowing their fans to tape and trade recordings of shows and distributing concert tickets themselves bucked the corporate control of popular music. The use of mind-altering chemicals questioned the nature of consciousness and reality. The practice of “touring,” following the band from city to city, living as modern day nomads presented a model distinct from the work-a-day option assumed by most in our corporate dominated culture. As a result, Deadheads are a quite introspective lot. The Grateful Dead and Philosophy contains essays from twenty professional philosophers whose love of the music and scene have led them to reflect on different philosophical questions that arise from the enigma that is the Grateful Dead. Coming from a variety of perspectives, ancient and modern, Eastern and Western, The Grateful Dead and Philosophy considers how the Grateful Dead fits into the broader trends of American thought running through pragmatism and the Beat poets, how the parking lot scene with its tie-dyed t-shirt and veggie burrito vendors was both a rejection and embrace of capitalism, and whether Jerry Garcia and the Buddha were more than just a couple of fat guys talking about peace. The lyrics of the Grateful Dead’s many songs are also the basis for several essays considering questions of fate and freedom, the nature-nurture debate, and gamblers’ ethics.

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