The perfect wartime spy; Fiona Figg is smart, sneaky, and full of surprises... A fun whodunit that will keep you turning the pages!” Cathi Stoler, author of The Murder On The Rocks Mysteries. 'A fun, mix of whodunnit and thriller set amid American high society' T. A. Williams 'Fast-paced, tongue-in-cheek spy romp. Enjoy the ride' Frances Evesham Can Fiona catch a killer and find a decent cup of tea before her mustache wax melts? 1917. New York. Notorious spy, Fredrick Fredricks, has invited Fiona to Carnegie Hall to hear a famous soprano. It’s an opportunity the War Office can’t turn down. Fiona and Clifford are soon on their way, but not before Fiona is saddled with chaperon duties for Captain Hall’s niece. Is Fiona a spy or a glorified babysitter? From the minute Fiona meets the soprano aboard the RMS Adriatic it’s treble on the high C’s. Fiona sees something—or someone—thrown overboard, and then she overhears a chemist plotting in German with one of her own countrymen! And the trouble doesn’t stop when they disembark. Soon Fiona is doing time with a group of suffragettes and investigating America’s most impressive inventor Thomas Edison. When her number one suspect turns up dead at the opera and Fredrick Fredricks is caught red-handed, it looks like it’s finally curtains for the notorious spy. But all the evidence points to his innocence. Will Fiona change her tune and clear her nemesis’ name? Or will she do her duty? And just what is she going to do with the pesky Kitty Lane? Not to mention swoon-worthy Archie Somersby . . . If Fiona’s going to come out on top, she’s going to have to make the most difficult decision of her life: the choice between her head and her heart. What readers are saying about Kelly Oliver: "Will keep you turning the pages and laughing all the way!" Dianne Freeman “A cross between an Agatha Christie and a Sherlock Holmes sleuthing story. Just brilliant!” NetGalley Reviewer "This historical mystery delivers twists and turns. I can't wait for the next one!" Muddy Rose Reviews "I love Fiona Figg!" Margaret Mizushima “Couldn't put it down.” Amazon Reviewer "A perfect blend of wit, fun, and intrigue." Debra Goldstein “I am hooked on these amazing characters.” Amazon Reviewer "A fun diversion with an entertaining female lead." Kirkus Reviews “Fans of Susan Elia MacNeal will gobble up this series! Highly recommend." L.A. Chandlar “Diabolical plot twists, interesting red herrings, colorful characters, make this a good whodunit.” NetGalley Reviewer
Journey into the heart of 20th Century Russia in this fun and funny historical mystery, perfect for fans of Verity Bright and Helena Dixon. 1918 Moscow Will following her heart mean losing her head? It could mean losing her job. Fiona Figg trails her nemesis Fredrick Fredricks to Moscow. But when she arrives at the grand Metropol Hotel, the bounder has vanished. After Fiona doesn’t show up for work at the War Office, Kitty Lane raises a red flag and tracks her to Russia. Seeking haven at the British Embassy, Kitty and Fiona become embroiled in a plot to overthrow the Bolshevik government. But the plot turns deadly when Fiona goes undercover as a governess in the household of Iron Viktor, the Bolsheviks’ Head of Secret Police. And when Viktor turns up dead in his study, Fiona finds herself wanted for murder and on the lam. Can Fiona and Kitty find the real killer and escape the Kremlin before it’s too late? Or will this dangerous game of Russian roulette be their last? What readers are saying about Kelly Oliver: 'A fast and fun-filled mystery that checks every box. If you’re new to the series, it stands on its own as an action-packed novel that’s leavened with the dry wit of its indomitable heroine. A 2024 must-read.' Lori Robbins 'A fun, mix of whodunnit and thriller!' T. A. Williams 'Fast-paced, tongue-in-cheek spy romp. Enjoy the ride!' Frances Evesham 'Will keep you turning the pages and laughing all the way!' Dianne Freeman ** 'The perfect wartime spy; Fiona Figg is smart, sneaky, and full of surprises... A fun whodunit that will keep you turning the pages!' **Cathi Stoler 'A fast and fun-filled mystery that checks every box. If you’re new to the series, it stands on its own as an action-packed novel that’s leavened with the dry wit of its indomitable heroine. A 2024 must-read.' Lori Robbins 'A cross between an Agatha Christie and a Sherlock Holmes sleuthing story. Just brilliant!' NetGalley Reviewer 'Simply delightful. Fiona Figg — with her tools, wigs, and disguises — is a sleuth you can't help but root for.' S.K. Golden 'This historical mystery delivers twists and turns. I can't wait for the next one!' Muddy Rose Reviews 'I love Fiona Figg!' Margaret Mizushima 'Couldn't put it down.' Amazon Reviewer 'A perfect blend of wit, fun, and intrigue.' Debra Goldstein 'I am hooked on these amazing characters.' Amazon Reviewer A fun diversion with an entertaining female lead. Kirkus Reviews 'Fans of Susan Elia MacNeal will gobble up this series! Highly recommend.' L.A. Chandlar 'Diabolical plot twists, interesting red herrings, colorful characters, make this a good whodunit.' NetGalley Reviewer
1918 Italy When a deadly blizzard traps Fiona Figg and Kitty Lane in the Dolomite Mountains, it’s all downhill from here.Their hotel is snowed-in, and no one can get in or out. Then a man is found dead in his locked hotel room – and the killer is still on the premises. But with no murder weapon and too many suspects, their investigation is treading on thin ice. The colder it gets outside, the hotter it gets inside as Fiona squares off with both her beloved Archie and her nemesis Fredricks. With her love-life on a slippery-slope, Fiona risks everything in one bold move... As fast and twisty as a downhill slalom, this slick new cozy from Kelly Oliver will have you melting into a puddle of laughter. Snap in and enjoy the ride. Readers love Fiona Figg and Kitty Lane Mysteries: "A bold, original sleuth, a devilishly charming adversary and a plucky Pekingese, this is a witty, high-energy tale of WWI espionage." Mariah Fredericks, author of The Lindbergh Nanny "Will keep you turning the pages and laughing all the way!" Dianne Freeman ** 'The perfect wartime spy; Fiona Figg is smart, sneaky, and full of surprises... A fun whodunit that will keep you turning the pages!” **Cathi Stoler, author of The Murder On The Rocks Mysteries. “A cross between an Agatha Christie and a Sherlock Holmes sleuthing story. Just brilliant!” NetGalley Reviewer "Covert in Cairo is simply delightful. Kelly Oliver’s immersive prose brings World War I era Egypt to life. Fiona Figg — with her tools, wigs, and disguises — is a sleuth you can’t help but root for." S.K. Golden, author of the Pinnacle Hotel Mystery series. "This historical mystery delivers twists and turns. I can't wait for the next one!" Muddy Rose Reviews "I love Fiona Figg!" Margaret Mizushima “Couldn't put it down.” Amazon Reviewer"A perfect blend of wit, fun, and intrigue." Debra Goldstein “I am hooked on these amazing characters.” Amazon Reviewer "A fun diversion with an entertaining female lead." Kirkus Reviews “Fans of Susan Elia MacNeal will gobble up this series! Highly recommend." L.A. Chandlar “Diabolical plot twists, interesting red herrings, colorful characters, make this a good whodunit.” NetGalley Reviewer
Saddle up for this first class historical mystery, perfect for fans of Helena Dixon and Verity Bright. London, 1918 Fiona Figg finds herself back in Old Blighty saddled with shuffling papers for the war office. Then a mysterious card arrives, inviting her to a fancy house party at Mentmore Castle. This year’s Ascot-themed do will play host to a stable of animal defense advocates, and Fiona is tasked with infiltrating the activists and uncovering possible anti-war activity. Disguised as the Lady Tabitha Kenworthy, Fiona is more than ready for the “mane” event, but the odds are against her when both her arch nemesis, dark-horse Fredrick Fredricks, and would-be fiancé Lieutenant Archie Somersby arrive unexpectedly and “stirrup” her plans. And when a horse doctor thuds to the floor in the next guest room, Fiona finds herself investigating a mysterious poisoning with some very hairy clues. Can Fiona overcome the hurdles and solve both cases, or will she be pipped to the post and put out to pasture by the killer? What readers are saying about Kelly Oliver: 'A fun, mix of whodunnit and thriller!' T. A. Williams 'Fast-paced, tongue-in-cheek spy romp. Enjoy the ride!' Frances Evesham "Will keep you turning the pages and laughing all the way!" Dianne Freeman 'The perfect wartime spy; Fiona Figg is smart, sneaky, and full of surprises... A fun whodunit that will keep you turning the pages!” Cathi Stoler, author of The Murder On The Rocks Mysteries. “A cross between an Agatha Christie and a Sherlock Holmes sleuthing story. Just brilliant!” NetGalley Reviewer "Covert in Cairo is simply delightful. Kelly Oliver’s immersive prose brings World War I era Egypt to life. Fiona Figg — with her tools, wigs, and disguises — is a sleuth you can’t help but root for." S.K. Golden, author of the Pinnacle Hotel Mystery series. "This historical mystery delivers twists and turns. I can't wait for the next one!" Muddy Rose Reviews "I love Fiona Figg!" Margaret Mizushima “Couldn't put it down.” Amazon Reviewer"A perfect blend of wit, fun, and intrigue." Debra Goldstein “I am hooked on these amazing characters.” Amazon Reviewer "A fun diversion with an entertaining female lead."Kirkus Reviews “Fans of Susan Elia MacNeal will gobble up this series! Highly recommend." L.A. Chandlar “Diabolical plot twists, interesting red herrings, colorful characters, make this a good whodunit.” NetGalley Reviewer
Preorder the BRAND NEW instalment in Kelly Oliver's page-turning cosy mystery series London 1918: Is Fiona Figg ready to exchange her sleuthing cap for a bridal veil? Fiona is set to tie the knot with her dashing captain, Archie Somersby. But, while Fiona is busy planning her happily ever after, side-kick Kitty Lane and a group of judo-chopping suffragettes are kicking up trouble at the Piccadilly Jujitsu Club. When Kitty is found unconscious in the locker room during a high-stakes competition, Fiona must forsake her bouquets and bridal gown to investigate. Her sleuthing leads to a posh lady’s luncheon where a mysterious death crashes Fiona’s wedding plans. To make matters worse, the arch-nemesis of all things matrimonial Fredrick Fredricks is up to his old tricks, attempting to put the brakes on Fiona’s journey down the aisle. Will he succeed in tripping up Fiona’s wedding vows? Or will she finally say “I don’t” to the charming devil? With humour as sharp as a judo chop and suspense as tight as a wedding corset, Poison in Piccadilly invites you to matrimonial mayhem that will have you saying “I do” to laughter and “forever more” to page-turning suspense. Readers LOVE Kelly Oliver's books: 'A fast and fun-filled mystery that checks every box. If you’re new to the series, it stands on its own as an action-packed novel that’s leavened with the dry wit of its indomitable heroine. A 2024 must-read.' Lori Robbins 'A fun, mix of whodunnit and thriller!' T. A. Williams 'Fast-paced, tongue-in-cheek spy romp. Enjoy the ride!' Frances Evesham 'Will keep you turning the pages and laughing all the way!' Dianne Freeman 'A fast and fun-filled mystery that checks every box. If you’re new to the series, it stands on its own as an action-packed novel that’s leavened with the dry wit of its indomitable heroine. A 2024 must-read.' Lori Robbins
“Perfect for fans of Downton Abbey and Maisie Dobbs.” BookTrib **'A fun, mix of whodunnit and thriller!' T. A. Williams 'Fast-paced, tongue-in-cheek spy romp. Enjoy the ride!' Frances Evesham** Cairo. December 1917. Following a tip-off from notorious spy Fredrick Fredricks, Fiona Figg and Kitty Lane of British Intelligence find themselves in the hustle and bustle of Egypt. But ancient mummies aren’t the only bodies buried in the tombs of Cairo. When a young French archeologist is found dead in a tomb in the desert with his head bashed in, and an undercover British agent goes missing, the threat moves closer to home. As they dig deeper, soon Fiona and Kitty uncover a treasure trove of suspects, including competing excavators, jealous husbands, secret lovers, and belligerent spies! Fiona wonders if the notorious Fredrick Fredricks could be behind the murders? Or is the plot even more sinister? One thing is clear – If Fiona and Kitty can’t catch the killer, they might end up sharing a sarcophagus with Nefertiti. **With humor as dry as the Arabian desert, and pacing as fast as a spitting camel, Fiona and Kitty are back in another sparkling adventure, this time in WW1 Egypt. What readers are saying about Kelly Oliver:** "Loved the story and laughed my sox off!" Reader review "Will keep you turning the pages and laughing all the way!" Dianne Freeman 'The perfect wartime spy; Fiona Figg is smart, sneaky, and full of surprises... A fun whodunit that will keep you turning the pages!” Cathi Stoler, author of The Murder On The Rocks Mysteries. “A cross between an Agatha Christie and a Sherlock Holmes sleuthing story. Just brilliant!” NetGalley Reviewer "Covert in Cairo is simply delightful. Kelly Oliver’s immersive prose brings World War I era Egypt to life. Fiona Figg — with her tools, wigs, and disguises — is a sleuth you can’t help but root for." S.K. Golden, author of the Pinnacle Hotel Mystery series. "This historical mystery delivers twists and turns. I can't wait for the next one!" Muddy Rose Reviews "I love Fiona Figg!" Margaret Mizushima “Couldn't put it down.” Amazon Reviewer "A perfect blend of wit, fun, and intrigue." Debra Goldstein “I am hooked on these amazing characters.” Amazon Reviewer "A fun diversion with an entertaining female lead." Kirkus Reviews “Fans of Susan Elia MacNeal will gobble up this series! Highly recommend." L.A. Chandlar “Diabolical plot twists, interesting red herrings, colorful characters, make this a good whodunit.” NetGalley Reviewer
Challenging the fundamental tenet of the multicultural movement -- that social struggles turning upon race, gender, and sexuality are struggles for recognition -- this work offers a powerful critique of current conceptions of identity and subjectivity based on Hegelian notions of recognition. The author's critical engagement with major texts of contemporary philosophy prepares the way for a highly original conception of ethics based on witnessing. Central to this project is Oliver's contention that the demand for recognition is a symptom of the pathology of oppression that perpetuates subject-object and same-different hierarchies. While theorists across the disciplines of the humanities and social sciences focus their research on multiculturalism around the struggle for recognition, Oliver argues that the actual texts and survivors' accounts from the aftermath of the Holocaust and slavery are testimonials to a pathos that is "beyond recognition". Oliver traces many of the problems with the recognition model of subjective identity to a particular notion of vision presupposed in theories of recognition and misrecognition. Contesting the idea of an objectifying gaze, she reformulates vision as a loving look that facilitates connection rather than necessitates alienation. As an alternative, Oliver develops a theory of witnessing subjectivity. She suggests that the notion of witnessing, with its double meaning as either eyewitness or bearing witness to the unseen, is more promising than recognition for describing the onset and sustenance of subjectivity. Subjectivity is born out of and sustained by the process of witnessing -- the possibility of address and response -- which puts ethicalobligations at its heart.
Ideal for students in philosophy, animal studies and gender studies, this volume explores an important question: what grounds our ethical responsibility? It covers a range of topics including maternal bodies, animal rights, capital punishment, depression and trauma, demonstrating the evolution of Kelly Oliver's seminal work in response ethics.
Family Values shows how the various contradictions at the heart of Western conceptions of maternity and paternity problematize our relationships with ourselves and with others. Using philosophical texts, psychoanalytic theory, studies in biology and popular culture, Kelly Oliver challenges our traditional concepts of maternity which are associated with nature, and our conceptions of paternity which are embedded in culture. Oliver's intervention calls into question the traditional image of the oppositional relationship between nature and culture, maternal and paternal. Family Values also undercuts recent returns to the rhetoric of a "battle between the sexes" by analyzing the conceptual basis of these descriptions in biological research and the presuppositions of such suggestions in philosophy and psychoanalysis. By developing a reconception of maternity and paternity, Family Values offers hope for peace in the battle of the sexes.
In Womanizing Nietzsche, Kelly Oliver uses an analysis of the position of woman in Nietzsche's texts to open onto the larger question of philosophy's relation to the feminine and the maternal. Offering readings from Nietzsche, Derrida, Irigaray, Kristeva, Freud and Lacan, Oliver builds an innovative foundation for an ontology of intersubjective relationships that suggests a new approach to ethics.
Oliver (philosophy, Vanderbilt U.) does not attempt to apply psychoanalysis to oppression. Rather she transforms psychoanalytic concepts such as alienation, melancholy, and shame into social concepts by developing a psychoanalytic theory based on a notion of the individual or psyche that is thoroughly social. The psyche and the social world are so
The eight essays contained in Philosophical Feminism and Popular Culture explore the portrayal of women and various philosophical responses to that portrayal in contemporary post-civil rights society. The essays examine visual, print, and performance media—stand-up comedy, movies, television, and a blockbuster trilogy of novel. These philosophical feminist analyses of popular culture consider the possibilities, both positive and negative, that popular culture presents for articulating the structure of the social and cultural practices in which gender matters, and for changing these practices if and when they follow from, lead to, or perpetuate discrimination on the basis of gender. The essays bring feminist voices to the conversation about gender and attests to the importance of feminist critique in what is sometimes claimed to be a post-feminist era.
In Noir Anxiety, Kelly Oliver and Benigno Trigo interpret what has been called the OC free-floating anxietyOCO of film noir as concrete apprehensions about race and sexuality.
Katniss Everdeen (The Hunger Games), Bella Swan (Twilight), Tris Prior (Divergent), and other strong and resourceful characters have decimated the fairytale archetype of the helpless girl waiting to be rescued. Giving as good as they get, these young women access reserves of aggression to liberate themselves—but who truly benefits? By meeting violence with violence, are women turning victimization into entertainment? Are they playing out old fantasies, institutionalizing their abuse? In Hunting Girls, Kelly Oliver examines popular culture's fixation on representing young women as predators and prey and the implication that violence—especially sexual violence—is an inevitable, perhaps even celebrated, part of a woman's maturity. In such films as Kick-Ass (2010), The Girl with the Dragon Tattoo (2011), and Maleficent (2014), power, control, and danger drive the story, but traditional relationships of care bind the narrative, and even the protagonist's love interest adds to her suffering. To underscore the threat of these depictions, Oliver locates their manifestation of violent sex in the growing prevalence of campus rape, the valorization of woman's lack of consent, and the new urgency to implement affirmative consent apps and policies.
Critically engaging the work of Immanuel Kant, Hannah Arendt, Martin Heidegger, and Jacques Derrida together with her own observations on contemporary politics, environmental degradation, and the pursuit of a just and sustainable world, Kelly Oliver lays the groundwork for a politics and ethics that embraces otherness without exploiting difference. Rooted firmly in human beings' relationship to the planet and to each other, Oliver shows peace is possible only if we maintain our ties to earth and world. Oliver begins with Immanuel Kant and his vision of politics grounded on earth as a finite surface shared by humans. She then incorporates Hannah Arendt's belief in plural worlds constituted through human relationships; Martin Heidegger's warning that alienation from the Earth endangers not only politics but also the very essence of being human; and Jacques Derrida's meditations on the singular worlds individuals, human and otherwise, create and how they inform the reality we inhabit. Each of these theorists, Oliver argues, resists the easy idealism of world citizenship and globalism, yet they all think about the earth against the globe to advance a grounded ethics. They contribute to a philosophy that avoids globalization's totalizing and homogenizing impulses and instead help build a framework for living within and among the world's rich biodiversity.
The central aim of this book is to approach contemporary problems raised by technologies of life and death as ethical issues that call for a more nuanced approach than mainstream philosophy can provide. To do so, it draws on the recently published seminars of Jacques Derrida to analyze the extremes of birth and dying insofar as they are mediated by technologies of life and death. With an eye to reproductive technologies, it shows how a deconstructive approach can change the very terms of contemporary debates over technologies of life and death, from cloning to surrogate motherhood to capital punishment, particularly insofar as most current discussions assume some notion of a liberal individual. The ethical stakes in these debates are never far from political concerns such as enfranchisement, citizenship, oppression, racism, sexism, and the public policies that normalize them. Technologies of Life and Death thus provides pointers for rethinking dominant philosophical and popular assumptions about nature and nurture,chance and necessity, masculine and feminine, human and animal, and what it means to be a mother or a father. In part, the book seeks to disarticulate a tension between ethics and politics that runs through these issues in order to suggest a more ethical politics by turning the force of sovereign violence back against itself. In the end, it proposes that deconstructive ethics with a psychoanalytic supplement can provide a corrective for moral codes and political clichés that turn us into mere answering machines.
Twelve-year-old Kassy O'Roarke wants to win the Thompson prize at her school newspaper. Her pesky little brother Percy and his key-stealing ferret try to help . . . and that's when the trouble begins. Apollo the cougar cub goes missing from their family's petting zoo. Kassy puts her detective skills to the test to find him before Animal Control does. Can Kassy outsmart the dogcatcher and rescue Apollo before being grounded for life? Join Kassy's fun-filled adventure cracking riddles, detecting clues, and solving a whole zoo of animal trouble in book one of the Pet Detective Mysteries.
Philosophy reads humanity against animality, arguing that "man" is man because he is separate from beast. Deftly challenging this position, Kelly Oliver proves that, in fact, it is the animal that teaches us to be human. Through their sex, their habits, and our perception of their purpose, animals show us how not to be them. This kinship plays out in a number of ways. We sacrifice animals to establish human kinship, but without the animal, the bonds of "brotherhood" fall apart. Either kinship with animals is possible or kinship with humans is impossible. Philosophy holds that humans and animals are distinct, but in defending this position, the discipline depends on a discourse that relies on the animal for its very definition of the human. Through these and other examples, Oliver does more than just establish an animal ethics. She transforms ethics by showing how its very origin is dependent upon the animal. Examining for the first time the treatment of the animal in the work of Heidegger, Merleau-Ponty, Derrida, Agamben, Freud, Lacan, and Kristeva, among others, Animal Lessons argues that the animal bites back, thereby reopening the question of the animal for philosophy.
Among the elements that define the classic film noir -- chiaroscuro lighting, voice-over narration, and such archetypal characters as the world-weary private eye and the femme fatale -- perhaps no element is more responsible for the genre's continued popularity among movie buffs, filmmakers, and critics than the palpable sense of anxiety that emanates from the screen. Because the genre emerged in the shadow of the Second World War, this profound psychological and philosophical unease is usually ascribed either to postwar fears about the atomic bomb or to the reactions of returning soldiers to a new social landscape. In Noir Anxiety, however, Kelly Oliver and Benigno Trigo interpret what has been called the "free-floating anxiety" of film noir as concrete apprehensions about race and sexuality. Applying feminist and postcolonial psychoanalytic theory to traditional noir films (Murder, My Sweet; The Lady from Shanghai; Vertigo; and Touch of Evil) and the "neo-noirs" of the 1970s, 1980s, and 1990s (Chinatown, Devil in a Blue Dress, and Bound), the authors uncover a rich array of unconscious worries and desires about ambiguous sexual, racial, and national identities, often displaced onto these films' narrative and stylistic components. In particular, Oliver and Trigo focus on the looming absence of the mother figure within the genre and fears about maternal sexuality and miscegenation. Drawing on the work of Freud and Julia Kristeva, Noir Anxiety locates film noir's studied ambivalence toward these critical themes within the genre's social, historical, and cinematic context.
The Kassy O'Roarke Pet Detective Activities Book is overflowing with riddles, puzzles, brain-teasers, and of course a whole zoo full of fun animals. Get out your markers and crayons... and then put on your thinking-cap and help Kassy figure out who "dunnit." "Where was Kassy when I was growing up? With jokes, riddles, puzzles, and mysteries for to solve, this series is sure to provide hours of entertainment. These books will hone reasoning skills while also being lots of fun. I highly recommend this collection for any budding sleuth!" -Claire Katz, director of the Philosophy for Children Texas Program and the Philosophy Camp for Teens and Tweens "Kassy O'Roarke is even more exciting than the Mysterious Benedict Society! The books make you feel like you're really inside the adventure, like you're really a part of it. The mysteries have many fun animals and twists. These are excellent books for young journalists and detectives! The activity book adds lots of fun coloring pages, riddles, and small mysteries for you to solve!" -Mila Neely, Fan Review
In this volume, philosopher and feminist theorist, Kelly Oliver, takes a look at aspects of popular culture, film, science and law to examine contemporary notions of paternity and maternity. She studies the role of paternal responsibility, virility and race in such events as the Million Man March and the growth of the Promise Keeper's movement and suggests alternative ways to conceive of self-other relations and the subjective identity at stake in them. In addition, she offers a detailed analysis of particular works by film-makers such as Polanski, Bergman and Varda in developing a theory of identity that opens the subject to otherness or difference.
No longer is pregnancy a repulsive or shameful condition in Hollywood films, but an attractive attribute, often enhancing the romantic or comedic storyline of a female character. Kelly Oliver investigates this curious shift and its reflection of changing attitudes toward women's roles in reproduction and the family. Not all representations signify progress. Oliver finds that in many pregnancy films, our anxieties over modern reproductive practices and technologies are made manifest, and in some cases perpetuate conventions curtailing women's freedom. Reading such films as Where the Heart Is (2000), Riding in Cars with Boys (2001), Palindromes (2004), Saved! (2004), Quinceañera (2006), Children of Men (2006), Knocked Up (2007), Juno (2007), Baby Mama (2008), Away We Go (2009), Precious (2009), The Back-up Plan (2010), Due Date (2010), and Twilight: Breaking Dawn (2011), Oliver investigates pregnancy as a vehicle for romance, a political issue of "choice," a representation of the hosting of "others," a prism for fears of miscegenation, and a screen for modern technological anxieties.
. . . both an excellent introduction and a thoroughgoing analysis of Kristeva's writing." —Signs "The book is a brilliant combination of a recuperative and a critical reading of Kristeva's work." —Changes: An International Journal of Psychology & Psychotherapy " . . . a thorough, detailed, and critical analysis of the writings of Julia Kristeva." —Elizabeth Grosz ". . . the most involved and engaging study of Julia Kristeva's work to date . . ." —The Year's Work in Critical and Cultural Theory This first full-scale feminist interpretation of Kristeva's work situates her within the context of French feminism. Oliver guides her readers through Kristeva's intellectual formation in linguistics, Freud, Lacan, and poetics. This comprehensive introduction to Kristeva makes accessible her important contributions to philosophy, linguistics, and psychoanalytic feminism.
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