We are all fascinated by the mystery of metamorphosis – of the caterpillar that transforms itself into a butterfly. Their bodies have almost nothing in common. They don’t share the same world: one crawls on the ground and the other flutters its wings in the air. And yet they are one and the same life. Emanuele Coccia argues that metamorphosis – the phenomenon that allows the same life to subsist in disparate bodies – is the relationship that binds all species together and unites the living with the non-living. Bacteria, viruses, fungi, plants, animals: they are all one and the same life. Each species, including the human species, is the metamorphosis of all those that preceded it – the same life, cobbling together a new body and a new form in order to exist differently. And there is no opposition between the living and the non-living: life is always the reincarnation of the non-living, a carnival of the telluric substance of a planet – the Earth – that continually draws new faces and new ways of being out of even the smallest particle of its disparate body. By highlighting what joins humans together with other forms of life, Coccia’s brilliant reflection on metamorphosis encourages us to abandon our view of the human species as static and independent and to recognize instead that we are part of a much larger and interconnected form of life.

This document presents a guide for Canadian exporters to Mexico. Topics covered are: the country; economy and foreign trade; doing business with Mexico; your business visit; federal export assistance; and, useful addresses.

This volume examines the dynamic relationship between the body, clothing, and identity in sub-Saharan Africa and raises questions that have previously been directed almost exclusively to a Western and urban context. Unusual in its treatment of the body surface as a critical frontier in the production and authentification of identity, Clothing and Difference shows how the body and its adornment have been used to construct and contest social and individual identities in Nigeria, Zimbabwe, Tanzania, Kenya, and other African societies during both colonial and post-colonial times. Grounded in the insights of anthropology and history and influenced by developments in cultural studies, these essays investigate the relations between the personal and the public, and between ideas about the self and those about the family, gender, and national groups. They explore the bodily and material creation of the changing identities of women, spirits, youths, ancestors, and entrepreneurs through a consideration of topics such as fashion, spirit possession, commodity exchange, hygiene, and mourning. By taking African societies as its focus, Clothing and Difference demonstrates that factors considered integral to Western social development--heterogeneity, migration, urbanization, transnational exchange, and media representation--have existed elsewhere in different configurations and with different outcomes. With significance for a wide range of fields, including gender studies, cultural studies, art history, performance studies, political science, semiotics, economics, folklore, and fashion and textile analysis/design, this work provides alternative views of the structures underpinning Western systems of commodification, postmodernism, and cultural differentiation. Contributors. Misty Bastian, Timothy Burke, Hildi Hendrickson, Deborah James, Adeline Masquelier, Elisha Renne, Johanna Schoss, Brad Weiss

This book is significant for its concept of "openness"--the artist's decision to leave arrangements of some constituents of a work to the public or to chance--and for its anticipation of two themes of literary theory: the element of multiplicity and plurality in art, and the insistence on literary response as an interaction between reader and text.

Michel Tremblay is one of Canada's most prominent writer's . This novel provides the backstory to his most famous chararacters.

Mrs. Lidcote returned his smile. "It's extraordinary. Everything's changed. Even Susy has changed; and you know the extent to which Susy stood for old New York. There's no old New York left, it seems. She talked in the most amazing way. She snaps her fingers at the Purshes. She told me -- me, that every woman had a right to happiness, that self-expression was the highest duty. She accused me of misunderstanding Leila; she said my point of view was conventional!