A few years ago Eugenie allowed me to read the first draft of her book, which is an autobiography, a memoir, a novel, a comic strip, a reflection. It swept me away into another life. Eugenie maintains she wrote it just for herself, something she wanted to do with no plan to share with the world, she declared; it just fell out of me onto the page. Well.... she has relented and is sharing it now. Rob Last Book lover, especially autobiographies. Teacher. World traveler. Theatre lover and sometimes critic. Eugenie’s writing is open and honest, unpretentious and simple, witty and gritty, funny and moving, exotic and adventurous and brimming with truth. It ’s a book about a grand life journey, with marvelous illustrations dotted throughout to add to the joy of it all. Don’t miss the chance to be delighted by this book.
In Life-Destroying Diagrams, Eugenie Brinkema brings the insights of her radical formalism to bear on supremely risky terrain: the ethical extremes of horror and love. Through close readings of works of film, literature, and philosophy, she explores how diagrams, grids, charts, lists, abecedaria, toroids, tempos, patterns, colors, negative space, lengths, increments, and thresholds attest to formal logics of torture and cruelty, violence and finitude, friendship and eros, debt and care. Beginning with a wholesale rethinking of the affect of horror, orienting it away from entrenched models of feeling toward impersonal schemes and structures, Brinkema moves outward to consider the relation between objects and affects, humiliation and metaphysics, genre and the general, bodily destruction and aesthetic generation, geometry and scenography, hatred and value, love and measurement, and, ultimately, the tensions, hazards, and speculative promise of formalism itself. Replete with etymological meditations, performative typography, and lyrical digressions, Life-Destroying Diagrams is at once a model of reading without guarantee and a series of generative experiments in the writing of aesthetic theory.
In ʻIndelible Memoriesʼ Eugenie Knox reveals one of the most colorful facets of the diamond which is the Melbourne arts world. Her story encompasses a wondrous family life, not without tragedy; through the heady times of the sixties and seventies; with travel to Europe and the U.S.A., and life in India; along with the vagaries of tree, and sea change. A key figure in bringing from overseas modern twentieth century dance and the practices of yoga and spiritual faith, Eugenie formed a creative mould from which many Melbourne artists have drawn. Melanie Wiltshire, traveller, reader, homemaker. Those lucky enough to have seen her performances know they have been privy to the work of a genius within a small pearl of the arts scene. The Dance of Life Studio which Eugenie founded long ago remains a place of influence. And her yoga classes on the Mornington Peninsula are as invigorating and inspirational as ever. Written and illustrated by Eugenie, this is a book which will astound the unsuspecting and delight all . Herein is a remarkable offering from a woman who now by way of words, parts the curtains and leads us again onto paths of discovery.
What is the relationship between a cinematic grid of color and that most visceral of negative affects, disgust? How might anxiety be a matter of an interrupted horizontal line, or grief a figure of blazing light? Offering a bold corrective to the emphasis on embodiment and experience in recent affect theory, Eugenie Brinkema develops a novel mode of criticism that locates the forms of particular affects within the specific details of cinematic and textual construction. Through close readings of works by Roland Barthes, Hollis Frampton, Sigmund Freud, Peter Greenaway, Michael Haneke, Alfred Hitchcock, Søren Kierkegaard, and David Lynch, Brinkema shows that deep attention to form, structure, and aesthetics enables a fundamental rethinking of the study of sensation. In the process, she delves into concepts as diverse as putrescence in French gastronomy, the role of the tear in philosophies of emotion, Nietzschean joy as a wild aesthetic of repetition, and the psychoanalytic theory of embarrassment. Above all, this provocative work is a call to harness the vitality of the affective turn for a renewed exploration of the possibilities of cinematic form.
Discover the history and heritage of the last Huguenot Church in America and national landmark located in Charleston, South Carolina. The Huguenot heritage in the United States cannot be overstated. In the latter part of the sixteenth century, France was plunged into a series of religious wars. In 1589, Henry of Navarre became Henry IV of France, but peace was not achieved until he issued the Edict of Nantes in 1598, which recognized the Huguenots' right to worship in the towns they controlled. While Henry IV lived, the financial and military security of the country was ensured. After his assassination in 1610, it ceased. Religious persecution resumed, and in 1685, Louis XIV revoked the Edict of Nantes, and many French Protestants fled. Of the estimated 180,000 Huguenot refugees, approximately 3,000 crossed the Atlantic. This book is about their descendants and their influence on the development of the American republic and the rights enshrined in the U.S. Constitution. The Huguenot Church in Charleston, a national landmark, is the last Huguenot church in America.
This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.
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