In a major revision of feminist-psychoanalytic theories of film pleasure and sexual difference, Studlar's close textual analysis of the six Paramount films directed by Josef von Sternberg and starring Marlene Dietrich probes the source of their visual and psychological complexity. Borrowing from Gilles Deleuze's psychoanalytic-literary approach, Studlar shows how masochism extends beyond the clinical realm, into the arena of artistic form, language, and production of pleasure. The author's examination of the von Sternberg/Dietrich collaborations shows how these films, with the mother figure embodied in the alluring yet androgynous Dietrich, offer a key for understanding film's "masochistic aesthetic." Studlar argues that masochism's broader significance to film study lies in the similarities between the structures of perversion and those of the cinematic apparatus, as a dream screen reviving archaic visual pleasures for both male and female spectators.

The Ming dynasty was the last great Chinese dynasty before the Manchu conquest in 1644. During that time, China, not Europe, was the center of the world: the European voyages of exploration were searching not just for new lands but also for new trade routes to the Far East. In this book, Timothy Brook eloquently narrates the changing landscape of life over the three centuries of the Ming (1368-1644), when China was transformed from a closely administered agrarian realm into a place of commercial profits and intense competition for status. The Confusions of Pleasure marks a significant departure from the conventional ways in which Chinese history has been written. Rather than recounting the Ming dynasty in a series of political events and philosophical achievements, it narrates this longue durée in terms of the habits and strains of everyday life. Peppered with stories of real people and their negotiations of a rapidly changing world, this book provides a new way of seeing the Ming dynasty that not only contributes to the scholarly understanding of the period but also provides an entertaining and accessible introduction to Chinese history for anyone.

This thoughtful and illuminating book provides a major statement on the meaning and importance of postmodernity.

Nakazawa connects Buddhist philosophy with modern sciences such as psychology, quantum theory, and mathematics, as well as linguistics and the arts to present a perspective on understanding the mind in a world built on interconnection and networks of relations. While Lemma Science is a new and modern study of humans, its provenance is deeply rooted in the Eastern thought tradition. The ancient Greeks identified two modes of human intelligence: the logos and lemma intellects. Etymologically, logos signifies to "arrange and organize what has been gathered in front of one's self." To practice logos-based thinking, one must rely on language. Thus, humans organize and understand the objects in the universe according to linguistic syntax. In contrast, lemma etymologically signifies the intellectual capacity to "grasp the whole at once." Instead of arranging objects along a time axis, as language does, the lemma intellect perceives the world in an intuitive, non-linear and non-causal manner, comprehending the whole in an instant. This book embarks on a venture to establish a new science based upon the lemma intellect. Using non-logos-based materials, rigorously following lemma-based methods, and transgressing the boundaries of academic fields, Nakazawa seeks to construct this new science as a fluid, dynamic entity. This book will be of great interest to researchers across the fields of Japanese studies, Buddhist studies, psychology and linguistics.

This volume offers a reconstruction of the court culture of the taifa kings of al-Andalus (11th century A.D.), using both visual and textual evidence. A focus of particular attention is the court of the Banū Hūd at Zaragoza, and that dynasty's palace, the Aljafería. Principle written sources are not histories and chronicles, but the untranslated poetic anthologies of al-ḥimyarī and al-Fatḥ ibn Khāqān. The first part of the book addresses taifa visual and literary languages, with especial emphasis on connections between the literary and visual aspects of taifa aesthetics. The sections on the Aljafería's ornamental program will be of particular interest, not only to historians of Islamic art, but to students of all visual traditions with strong non-figural components. In addition, Part One also proposes that taifa court culture has been considered as a culture of "courtly love," and this argument also forms the point of departure for Part Two. The second part of the study uses luxury objects of Islamic and Limousine production as a point of departure for a detailed comparison of the thematics of taifa poetry in classical Arabic on the themes of courtly love and pleasures with those of the better-known Provençal tradition.