Titlebook: Desert Islands and the Liquid Modern; Barney Samson Book 2020 The Editor(s) (if applicable) and The Author(s), under exclusive license to

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面包屑

Monica Violeta Achim,Robert W. McGeeisland that is figuratively both separate from and connected to ‘home.’ Pacific islanders are understood to be threatening antagonists but never appear, complicating the solid modern urge to control Otherness. The protagonists choose to stay on the island but their subsequent rescue recuperates soli

refraction

Michel Dion,David Weisstub,Jean-Loup Richetquid modernity, as described by Zygmunt Bauman. In ., Chuck Noland is a radically mobile agent of liquid modern repression. His relationship with a Wilson volleyball speaks to commodity fetishism, but exists alongside his continued preoccupation with repressive time. The film critiques repressive as

修剪過的樹籬

Michel Dion,David Weisstub,Jean-Loup Richet. The texts exemplify complementary aspects of liquid modernity: the underdetermination of contemporary identity and subjectivity, and seductive techniques of social control, structured by consumerism. In ., the player-character inhabits a desert island without an avatar, antagonists or explicit aim

遠(yuǎn)地點

溫順

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共同給與

Introducing the Liquid Modern Desert Island,n of the liquid modern. Difficulties arise when one interrogates the idea of a ‘desert island.’ What is an island? What does it mean to be desert(ed)? Who counts as an inhabitant? The introduction surveys and then complicates various contradictory meanings that have been attached to desert islands i

Hla461

(In)Coherent Desert Islands: , and Bounty Chocolate in Print,ways in which representations of desert islands characterise identity as structured by choice. In Desert Island Discs (1942–), the island is the vehicle for autobiographical narratives that construct identity as coherent and regulated by patriarchal authority. This is complicated by the endorsement

inferno

憤世嫉俗者

Repression and Seduction: , and Bounty Chocolate on Screen,island that is figuratively both separate from and connected to ‘home.’ Pacific islanders are understood to be threatening antagonists but never appear, complicating the solid modern urge to control Otherness. The protagonists choose to stay on the island but their subsequent rescue recuperates soli