Laurell okay. Hamilton’s Anita Blake, Vampire Hunter sequence is a literary sensation, due to its powerful woman hero, well-fleshed (both actually and literarily) characters and unabashed perspective towards intercourse. the area Hamilton has created is powerfully compelling and stunningly complex—and it will get deeper, richer and extra perilous, with each book.
Straddling the series’ dominant subject matters of intercourse and tool, Ardeur offers Anita lovers a deeper inspect the dynamics, either own political, that experience stored readers interested through the run of the sequence. Why is the ardeur some of the best factor that may have occurred to Anita, in my view (aside from all of the intercourse it calls for her to have with scorching men)? How is Anita’s exchange usa a logical criminal extension of our personal? and because the sequence keeps, what different deals could Anita need to make with herself and others with the intention to retain the folks she loves secure from harm?
The assortment comprises essay introductions by way of Hamilton, giving context and additional perception into each one essay’s topic.
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Extra info for Ardeur: 14 Writers on the Anita Blake, Vampire Hunter Series
Writing myself into the history of poetic intentions I describe, I also argue for the interest and value (if not necessarily the truth) of a theory of collective intentions that is crucially internalist: it conceives of the ability 39 P O E M S , P O E T R Y, P E R S O N H O O D of forming intentions for partnership-in-action whether or not one has a partner— indeed, whether or not anyone else in the world exists. The ability to recover—by reading poems—a conviction in even the solitary person’s innate and “primitive” capacity to formulate “we-intentions” may, I suggest, have a transformative effect on one’s felt capacities for relationship, and reorient the person toward a shared world.
74 INTRODUCTION 32 and reception. Perhaps nothing has seemed a riper target for this project of contextualization and de-idealization than the idea of poetry itself. Thus, in her recent brief for what she calls a “historical poetics,” Yopie Prins celebrates the achievements of critics who would bring externalist historicism into the idealist heart of the poetic. ”75 Perhaps the most fully realized example of such a critic thus far is Virginia Jackson, who, in her careful work on Emily Dickinson, inveighs against the modern retro-projection of the reifying category of lyric upon the incommensurable communicative practices, personal relations, generic conventions, and discourse communities that make up the life led in proximity to poetry: [T]he overlapping or incongruous details, seasons, public and private histories, battles and pets, sex scandals and insect remnants, books, newspapers and all sorts of familiar letters that surrounded the lines later published as a Dickinson lyric could not be said to be what the lines are “about” .
197 and cp. Yeats’s “A Deep Sworn Vow”) (379) 21 I look at an animal and am asked: what do you see? ”—I see a landscape; suddenly a rabbit runs past. ”58 And alongside it, for comparison, the Yeats: Others because you did not keep That deep-sworn vow have been friends of mine; Yet always when I look death in the face, When I clamber to the heights of sleep, Or when I grow excited with wine, Suddenly I meet your face. In this section of Philosophical Investigations, Wittgenstein is offering an alternative to the idea that seeing is mere blank perception posing a sort of question to which we match our answering concepts.
Ardeur: 14 Writers on the Anita Blake, Vampire Hunter Series