Booth’s poems have been included in the anthologies The Best American Poetry 2015, The Burden of Light: Poems on Illness and Loss, The Golden Shovel Anthology honoring Gwendolyn Brooks, and Furious Flower: Seeding the Future of African American Poetry. He is a professor in the Ashland University MFA program and a residential faculty member at Paradise Valley Community College where he teaches poetry and English composition. You can find out more about Dexter, his writing and teaching by following him on Instagram or on Facebook or Twitter. Dexter is the author of the poetry collection, Scratching the Ghost from Graywolf Press, which won the 2012 Cave Canem Poetry Prize, as well as the chapbook Rhapsody from Etchings Press. “You try to take off your skin to try to get rid of this voice, and it goes all the way down to the bone.” Producer: Whit Instagram: Warnings: domestic abuse, mental illness, suicide, explicit languageToday’s episode featured Dexter L.
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These lectures were the inspiration for the book: A Companion to Marx’s Capital published by Verso in 2010. Help make this Capital v1 course accessible in other languages: join our translation project Subscribe to a course as a video or audio podcast: Reading Marx’s Capital Volume I with David Harvey – 2007 EditionĪ close reading of the text of Karl Marx’s Capital Volume I in 13 video lectures by Professor David Harvey. Visualization of all Three Volumes of Capital.The Path of Argument of Capital Volume 1.Podcast available on Spotify, iTunes, PodBean, and RSS. Recorded at The People’s Forum in New York City in 2019. Reading Marx’s Capital Volume 1 with David Harvey – 2019 EditionĪ close reading of the text of Karl Marx’s Capital Volume I in 12 video lectures by Professor David Harvey. 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The 1960s and 1970s birthed the American muscle car scene, a beloved American pastime for those who enjoy learning about the different car specs and a hobby for collectors who can afford it. A number of these critiques extend beyond the local audience option and for this reason this study concludes that we cannot currently determine the audience of the Gospel. As such, the aural reception of the Gospel would have resulted in a variety of impacts. Fourth, Vine suggests that early Christian audiences were largely heterogeneous in terms of ethnicity, age, sex, wealth, familiarity with Christian traditions, and levels of commitment. Third, Vine argues that many in an audience of the Gospel would have incorporated their experience of hearing Matthew within pre-existing mental representations shaped by Mark or other early traditions. Second, local audience readings necessarily exclude plot-related developments and are both selective and restrictive in their treatment of characterisation. The first suggests the assumptions which underpin the text-focused process of identifying the Gospel's audience, whether deemed to be local, Jewish, or universal, lack clarity. Despite repeated challenges, the local audience thesis continues to dominate a large proportion of Matthean scholarship, and, as such, the issue of determining the Gospel's audience remains an open question. This book seeks to establish the inadequacy of readings of the Gospel of Matthew as intended for, and a reflection of, a local audience or community. Library of New Testament Studies 496 (London: Bloomsbury T&T Clark, 2014). Five years after responding to Kappus for the first time, Rilke found himself contemplating a marble sculpture of a Greek youth that he had seen in the Louvre. Letters summon us in this way so too can art. The invitation is both estranging and thrilling: Could you become the person whose name you read there? Even before you’ve opened the envelope, your identity has been refracted through someone else’s. To hold a letter addressed to you and see your own name in another’s hand is to feel an unsettling kind of pleasure. Kappus wanted to know if his own poems were any good he wanted to know what to write and how to be. “The envelope,” he later wrote, “bore a blue seal and a Paris postmark, weighed heavy in my hand, and presented the same clear, beautiful, confident handwriting on the envelope as the letter itself had from first line to last.” The confidence that Kappus saw in the hand of his correspondent offered an inverse image of the self-doubt that had led him, months earlier, to write to that man-the poet Rainer Maria Rilke. In February, 1903, a nineteen-year-old Austrian military cadet named Franz Xaver Kappus received a letter whose contents, he hoped, would teach him how to live. 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We Have Always Been Here by Samra Habib, published by Penguin Random House, Canada in 2019, is the gateway to understanding the question of visibility. On one of the half-abandoned “luxuryˮ developments that litter Ireland, Patrick Spain and his two young children have been murdered. He plays by the books and plays hard, and thatʼs how the biggest case of the year ends up in his hands. 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