By Wilhelm Rettich
Read Online or Download Der Irdische: für Männerchor a capella. op. 35. Chor (Männer). PDF
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Set in London in the course of the mid Nineteen Sixties, this novel explores the dual jungles of sexual liberation and workplace politics in a distinct literary publishing condominium. Kingsley Amis additionally wrote "The eco-friendly Man", "The Riverside Villas homicide" and "That doubtful Feeling".
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Additional resources for Der Irdische: für Männerchor a capella. op. 35. Chor (Männer).
As Deleuze and Guattari argue, “from the moment we place desire on the side of acquisition, we make desire an idealistic (dialectical, nihilistic) conception, which causes us to look upon it as primarily a lack: a lack of an object, a lack of the real object” (Anti-Oedipus 25)—and, one might add, a lack of a real subject, the subject produced (however ephemerally) by possession of the object. This shift is also evident in the later scene in which Carrie returns to the store with money in her purse.
For her fi rst husband John Oglethorpe, the theater producer Harry Goldweiser, her lawyer George Baldwin, and her second husband Jimmy Herf, she remains a tantalizing, unreachable figure. The Danderine Lady functions not only to mediate Ellen’s relationship to herself and the men in her life, as her conversation with Stan suggests, but also to mediate Stan’s relationship to her. While Stan is the only man Ellen ever loves, he doesn’t love her back. Caught up in his own despair and seeing Ellen more clearly than her other men, he mocks her attempts to help him: “‘Rings on her fi ngers,’ chanted Stan, pressing his buzzer, ‘And bells on her toes, And she shall cure dandruff wherever it grows’” (143).
I’ve given you all the clothes you wanted, haven’t I? I’ve taken you everywhere you wanted to go” (165). ” The fetishistic seductiveness—“Ah, such little feet . . how effectively I cover them”—of the shoes’ discourse is also remarkable for what it suggests about the transformation that the city has wrought in Carrie. Her desire for the shoes reveals no trace of her own, earlier relation to such things or of the grim realities of the conditions of their production. The “soft new leather” of the shoes evokes no memory of her days in the shoe factory where she had her fi rst job, of her aching muscles, and the increasingly distasteful repetitive action she was required to perform on the factory assembly line until it became for her “absolutely nauseating” (29).