Little Carol Anne Smith was just a normal little girl who had an unfortunate run-in with a car that her parents thought, at first, was going to leave her brain-damaged or worse.Miraculously Carol Anne walked away without a scratch but then she started having psychotic fits of violent rage inexplicably and indiscriminately.This forced Carol Anne's parents;Bill and Susan Smith to have her committed to the local sanitarium.Unbeknownst to them, however, that wasn't the only thing that this accident gave her;it also gave her disturbing, psychic visions of murder. When Carol Anne's father, a detective, finds this out and upon discovering that she's able to use these psychic abilities to help him and his partner; Nathaniel Robertson, catch suspected murderers, Bill decides to put this to good use to help him and his partner solve cases including those involving m

After months of having their psychic daughter;Carol Anne confined to another insane asylum, Bill and Susan Smith decide that their little girl would be better off living at home with them and yet they find that taking care of their psychic six-year-old daughter is more than they bargained for as they wonder whether or not they did the right thing bringing her home as they deal with her "abilities"

This book is unique in its dedicated tackling of the subject of death in the work of Jean Baudrillard. Through new readings of his work, the book makes so patently clear the importance of Baudrillard’s tendency to poeticize, his core indebtedness to Georges Bataille, Alfred Jarry, and others, and his reliance on paradox. Ultimately, Stratagem of the Corpse is less a making sense of death and more a transcript of what occurred when death made sense of us, a reverse thanatology in which death delineates the variant forms of our encroachment, not so much death as seen by Baudrillard but Baudrillard as seen by death.

Crime detective, crimes take place in Russia. After being struck by lightning, Karina at the age of 16 receives the gift of clairvoyance. Only by touching the victim’s hand, Karina can see the moment of the crime, the faces of the criminals, the license plates of the cars. She helps investigator Grachev solve sometimes brutal crimes. Trials and unforeseen circumstances await her.

William Faulkner occupied a unique position as a modern writer. Although famous for his modernist novels and their notorious difficulty, he also wrote extensively for the "culture industry," and the works he produced for it—including short stories, adaptations, and screenplays—bore many of the hallmarks of consumer art. His experiences as a Hollywood screenwriter influenced him in a number of ways, many of them negative, while the films turned out by the "dream factories" in which he labored sporadically inspired both his interest and his contempt. Faulkner also disparaged the popular magazines—though he frequently sold short stories to them. To what extent was Faulkner's deeply ambivalent relationship to—and involvement with—American popular culture reflected in his modernist or "art" fiction? Peter Lurie finds convincing evidence that Faulkner was keenly aware of commercial culture and adapted its formulae, strategies, and in particular, its visual techniques into the language of his novels of the 1930s. Lurie contends that Faulkner's modernism can be best understood in light of his reaction to the popular culture of his day. Using Theodor Adorno's theory about modern cultural production as a framework, Lurie's close readings of Sanctuary, Light in August, Absalom! Absalom!, and If I Forget Thee, Jerusalem uncover the cultural history that surrounded and influenced the development of Faulkner's art. Lurie is particularly interested in the influence of cinema on Faulkner's fiction and especially the visual strategies he both deployed and critiqued. These include the suggestion of cinematic viewing on the part of readers and of characters in each of the novels; the collective and individual acts of voyeurism in Sanctuary and Light in August; the exposing in Absalom! Absalom! and Light in Augustof stereotypical and cinematic patterns of thought about history and race; and the evocation of popular forms like melodrama and the movie screen in If I Forget Thee, Jerusalem. Offering innovative readings of these canonical works, this study sheds new light on Faulkner's uniquely American modernism.

Elder examines how artists such as Brakhage, Artaud, Schneemann, Cohen and others have tried to recognize and to convey primordial forms of experiences. He argues that the attempt to convey these primordial modes of awareness demands a different conception of artistic meaning from any of those that currently dominate contemporary critical discussion. By reworking theories and speech in highly original ways, Elder formulates this new conception. His remarks on the gaps in contemporary critical practices will likely become the focus of much debate.

The influence of intellectuals is not only greater than in previous eras but also takes a very different form from that envisioned by those like Machiavelli and others who have wanted to directly influence rulers. It has not been by shaping the opinions or directing the actions of the holders of power that modern intellectuals have most influenced the course of events, but by shaping public opinion in ways that affect the actions of power holders in democratic societies, whether or not those power holders accept the general vision or the particular policies favored by intellectuals. Even government leaders with disdain or contempt for intellectuals have had to bend to the climate of opinion shaped by those intellectuals. Intellectuals and Society not only examines the track record of intellectuals in the things they have advocated but also analyzes the incentives and constraints under which their views and visions have emerged. One of the most surprising aspects of this study is how often intellectuals have been proved not only wrong, but grossly and disastrously wrong in their prescriptions for the ills of society -- and how little their views have changed in response to empirical evidence of the disasters entailed by those views.

The flashback is a crucial moment in a film narrative, one that captures the cinematic expression of memory, and history. This author’s wide-ranging account of this single device reveals it to be an important way of creating cinematic meaning. Taking as her subject all of film history, the author traces out the history of the flashback, illuminating that history through structuralist narrative theory, psychoanalytic theories of subjectivity, and theories of ideology. From the American silent film era and the European and Japanese avant-garde of the twenties, from film noir and the psychological melodrama of the forties and fifties to 1980s art and Third World cinema, the flashback has interrogated time and memory, making it a nexus for ideology, representations of the psyche, and shifting cultural attitudes.

The 'British Mysteries - Boxed Set' serves as a grand compendium of over 350 detective novels, thrillers, and true crime stories, showcasing a remarkable range of literary styles and themes from the golden age of British mystery writing. This anthology includes works that span from the methodical deduction of the classic detective story to the heart-pounding suspense of early thrillers, embodying the rich diversity and depth of the genre. With standout pieces from the masters of mystery, the collection provides an encompassing view of the literary and cultural influences that shaped these genres in Britain, highlighting the intricate puzzles of Arthur Conan Doyle, the cunning mysteries of Agatha Christie, and the psychological thrillers of Edgar Wallace, among others. The contributing authors and editors of this anthology, including luminary figures like Wilkie Collins, G.K. Chesterton, and R. Austin Freeman, bring together a wide array of backgrounds, from journalism to medicine, that deeply inform their narratives. This diverse compilation not only aligns with, but also celebrates the shifts and developments within the British literary tradition, offering insights into the socio-cultural contexts that nurtured these genres. Their collective contributions underscore the evolution of detective and thriller literature, from its nascent stages to its pinnacle in the early 20th century, reflecting the changing dynamics of British society. This anthology presents a unique opportunity for readers to delve into the complexities and joys of British mystery literature, exploring a vast landscape of intrigue, suspense, and intellectual challenge. It is an indispensable collection for aficionados of the genre, providing an unparalleled breadth of insight into the art of mystery and crime writing. Readers are encouraged to immerse themselves in this treasure trove, which not only serves as a testament to the enduring appeal of British mysteries but also fosters a deeper appreciation for the intricate craftsmanship behind these timeless stories.