We certainly have the unconscious that we deserve, an unconscious for specialists, ready-made for an institutionalized discourse. I would rather see it as something that wraps itself around us in everyday objects, something that is involved with day-to-day problems, with the world outside. It would be the possible itself, open to the socius, to the cosmos...--from The Machinic ...(展开全部)

Between 1949 and 1953, Robert Frank continually returned to Europe from his new home in New York to take photographs in France, Switzerland, Spain, and Great Britain, photographs that show the development of his uniquely humanist, poetic, and realist eye. In 1951 and early 1952, Frank visited London--"I liked the light, I liked the fog."--and set out to photograph the unique at...(展开全部)

"War is over; the heroic French population reaffirms superiority. Love, Paris, and Flowers but London was black, white, and gray, the elegance, the style, all present in front of always changing fog. Then I met a man from Wales talking about the Miners and I had read How Green Was My Valley. This became my only try to make a 'Story'." --Robert Frank This magnificent new edition...(展开全部)

Within the ephemera of the everyday - old photographs, circus posters, iron toys - lies a challenge to America's dominant cultural memory. What this memory has left behind, Bill Brown recovers in the "material unconscious" of Stephen Crane's work, the textual residues of daily sensations that add up to a new history of the American 1890s. As revealed in Crane's appropriation of...(展开全部)

The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not o...(展开全部)

Operated by the Govia Group, London Midland commenced operation in November 2007, combining the former Silverlink franchise with parts of the former Central Trains franchise. The geographical area cov

London Fields is Amis's murder story for the end of the millennium. The murderee is Nicola Six, a "black hole" of sex and self-loathing intent on orchestrating her own extinction. The murderer may be Keith Talent, a violent lowlife whose only passions are pornography and darts. Or is the killer the rich, honorable, and dimly romantic Guy Clinch? "A comic murder mystery, an ap...(展开全部)

London Fields is Amis's murder story for the end of the millennium. The murderee is Nicola Six, a "black hole" of sex and self-loathing intent on orchestrating her own extinction. The murderer may be Keith Talent, a violent lowlife whose only passions are pornography and darts. Or is the killer the rich, honorable, and dimly romantic Guy Clinch?

London Fields is Amis's murder story for the end of the millennium. The murderee is Nicola Six, a "black hole" of sex and self-loathing intent on orchestrating her own extinction. The murderer may be Keith Talent, a violent lowlife whose only passions are pornography and darts. Or is the killer the rich, honorable, and dimly romantic Guy Clinch?

利奥·霍利斯（Le o H o l l i s），1972年出生于伦敦。曾就读于东安格利亚大学（U E A）学习历史，专攻17世纪史。毕业后回到伦敦，花了很多时间以行走的方式探索伦敦城，著有两本关于伦敦历史的书籍《伦敦的崛起》《伦敦的基石》，他的近著是《城市对你大有益》。他经常在《金融时报》《今日历史》《星期日电讯报》《星期日独立报》等报刊上发表文章，并参与多档电台和电视节目的录制。现与妻子和两个孩子生活在伦敦。