Bøger af Kelly Oliver

From a girl to a woman, forever seeking love and acceptance; putting feelings, dreams, and real life heartaches into rhyme. In this collection of poems from Kelly Oliver, writing words was a way to deal with the deep feelings of need, love, life, and loss.

PETS ARE DISAPPEARING FROM LEMON TREE HEIGHTS.With her family's petting zoo at stake, Kassy has to stop the dognapping ring, and fast.Hot on the trail of a missing cockapoo, Kassy discovers a mysterious key and a treasure map hidden inside a wall. Just when she's close to cracking the case, her brother Crispy and his faithful ferret Freddie go missing.To find her brother and the missing pets, Kassy gathers all her courage and ventures into the local cemetery. But can she unlock the clues and save the petting zoo in time?Join Kassy's fun-filled middle-grade adventure cracking riddles, detecting clues, and solving a whole zoo of animal trouble in the second book in the Pet Detective Mysteries.

PETS ARE DISAPPEARING FROM LEMON TREE HEIGHTS. With her family's petting zoo at stake, Kassy has to stop the dognapping ring, and fast.Hot on the trail of a missing cockapoo, Kassy discovers a mysterious key and a treasure map hidden inside a wall. Just when she's close to cracking the case, her brother Crispy and his faithful ferret Freddie go missing.To find her brother and the missing pets, Kassy gathers all her courage and ventures into the local cemetery. But can she unlock the clues and save the petting zoo in time?Join Kassy's fun-filled middle-grade adventure cracking riddles, detecting clues, and solving a whole zoo of animal trouble in the second book in the Pet Detective Mysteries.

Jessica James is back in the saddle in this fast-paced and funny whodunnit.Facing life as an unemployed philosopher, a pair of pocket rockets in Texas Hold 'Em sends her to Italy where she takes a crash course in Art Crimes.She lands an internship with the FBI. But wouldn't you know it. Her new boss is Federal Marshal Lexington Colt.Does sharing an old boyfriend count as a conflict of interest?Jessica and Lexi once again must team up to catch a killer and solve one of the biggest art heists in history.Grab it now and start the fun.

Downton Abbey meets Agatha Christie in this witty whodunnit.Can Fiona catch a killer AND find a decent cup of tea?1917. Vienna.File clerk turned British agent Fiona Figg is more comfortable wearing a fake mustache than a ballgown.When a royal ball ends with a royal body in the middle of the dance floor, Fiona trades her dancing slippers for practical oxfords and sets out to investigate.As she tracks her nemesis, Fredrick Fredricks, from Vienna to the Austrian countryside, a hunting accident makes her rethink her loyalties.Can Fiona prevent Fredricks from striking again, save her own skin, and find a decent cup of tea, all before the enemy''s emperor realizes she''s a spy?Get it now to start the fun!

If James Patterson and Janet Evanovich had a love child... meet Jessica James.She's obsessed with finding an old boyfriend.But can she track him down without leading the mafia straight to him?And what about the hot Federal Marshal hellbent on stopping her?Jessica is back in another witty, fast-paced, adventure full of suspense, romance, and Diet Mountain Dew.

File clerk turned secret agent Fiona Figg is up to her fake eyebrows in missing maids, jewel thieves, double agents, and high treason in 1915 Paris.

Using deconstruction, this book approaches contemporary problems raised by technologies of life and death from cloning to capital punishment; and thereby, provides new insights into current debates from a perspective outside of mainstream philosophy with its assumptions of individual and political sovereignty.

A critique of the traditional assumptions that Western society makes about the links between maternity and nature and paternity and culture, for students of gender and philosophy. The author refers to philosophers as disparate as Locke and Merleau-Ponty, and also sources psychoanalytic theorists.

Oliver addresses questions on the death of philosophy and the possibility of ethics. Focusing on the relationship between philosophy and its other she stresses its ethical implications.

An examination of notions of paternity and maternity in culture, film, science and law. It studies the role of paternal responsibility, virility and race in such events as the Million Man March and suggests ways to conceive of self-other relations and the subjective identity at stake in them.

Katniss Everdeen (The Hunger Games), Bella Swan (Twilight), Tris Prior (Divergent), and other strong and resourceful characters have decimated the fairytale archetype of the helpless girl waiting to be rescued. Giving as good as they get, these young women access reserves of aggression to liberate themselves-but who truly benefits? By meeting violence with violence, are women turning victimization into entertainment? Are they playing out old fantasies, institutionalizing their abuse?In Hunting Girls, Kelly Oliver examines popular culture's fixation on representing young women as predators and prey and the implication that violence-especially sexual violence-is an inevitable, perhaps even celebrated, part of a woman's maturity. In such films as Kick-Ass (2010), The Girl with the Dragon Tattoo (2011), and Maleficent (2014), power, control, and danger drive the story, but traditional relationships of care bind the narrative, and even the protagonist's love interest adds to her suffering. To underscore the threat of these depictions, Oliver locates their manifestation of violent sex in the growing prevalence of campus rape, the valorization of woman's lack of consent, and the new urgency to implement affirmative consent apps and policies.

Critically engaging the work of Immanuel Kant, Hannah Arendt, Martin Heidegger, and Jacques Derrida together with her own observations on contemporary politics, environmental degradation, and the pursuit of a just and sustainable world, Kelly Oliver lays the groundwork for a politics and ethics that embraces otherness without exploiting difference. Rooted firmly in human beings' relationship to the planet and to each other, Oliver shows peace is possible only if we maintain our ties to earth and world.Oliver begins with Immanuel Kant and his vision of politics grounded on earth as a finite surface shared by humans. She then incorporates Hannah Arendt's belief in plural worlds constituted through human relationships; Martin Heidegger's warning that alienation from the Earth endangers not only politics but also the very essence of being human; and Jacques Derrida's meditations on the singular worlds individuals, human and otherwise, create and how they inform the reality we inhabit. Each of these theorists, Oliver argues, resists the easy idealism of world citizenship and globalism, yet they all think about the earth against the globe to advance a grounded ethics. They contribute to a philosophy that avoids globalization's totalizing and homogenizing impulses and instead help build a framework for living within and among the world's rich biodiversity.

No longer is pregnancy a repulsive or shameful condition in Hollywood films, but an attractive attribute, often enhancing the romantic or comedic storyline of a female character. Kelly Oliver investigates this curious shift and its reflection of changing attitudes toward women's roles in reproduction and the family. Not all representations signify progress. Oliver finds that in many pregnancy films, our anxieties over modern reproductive practices and technologies are made manifest, and in some cases perpetuate conventions curtailing women's freedom. Reading such films as Where the Heart Is (2000), Riding in Cars with Boys (2001), Palindromes (2004), Saved! (2004), Quinceanera (2006), Children of Men (2006), Knocked Up (2007), Juno (2007), Baby Mama (2008), Away We Go (2009), Precious (2009), The Back-up Plan (2010), Due Date (2010), and Twilight: Breaking Dawn (2011), Oliver investigates pregnancy as a vehicle for romance, a political issue of "e;choice,"e; a representation of the hosting of "e;others,"e; a prism for fears of miscegenation, and a screen for modern technological anxieties.

Philosophy reads humanity against animality, arguing that "e;man"e; is man because he is separate from beast. Deftly challenging this position, Kelly Oliver proves that, in fact, it is the animal that teaches us to be human. Through their sex, their habits, and our perception of their purpose, animals show us how not to be them. This kinship plays out in a number of ways. We sacrifice animals to establish human kinship, but without the animal, the bonds of "e;brotherhood"e; fall apart. Either kinship with animals is possible or kinship with humans is impossible. Philosophy holds that humans and animals are distinct, but in defending this position, the discipline depends on a discourse that relies on the animal for its very definition of the human. Through these and other examples, Oliver does more than just establish an animal ethics. She transforms ethics by showing how its very origin is dependent upon the animal. Examining for the first time the treatment of the animal in the work of Heidegger, Merleau-Ponty, Derrida, Agamben, Freud, Lacan, and Kristeva, among others, Animal Lessons argues that the animal bites back, thereby reopening the question of the animal for philosophy.

Ever since Eve tempted Adam with her apple, women have been regarded as a corrupting and destructive force. The very idea that women can be used as interrogation tools, as evidenced in the infamous Abu Ghraib torture photos, plays on age-old fears of women as sexually threatening weapons, and therefore the literal explosion of women onto the war scene should come as no surprise. From the female soldiers involved in Abu Ghraib to Palestinian women suicide bombers, women and their bodies have become powerful weapons in the Afghanistan and Iraq wars. In Women as Weapons of War, Kelly Oliver reveals how the media and the administration frequently use metaphors of weaponry to describe women and female sexuality and forge a deliberate link between notions of vulnerability and images of violence. Focusing specifically on the U.S. campaigns in Afghanistan and Iraq, Oliver analyzes contemporary discourse surrounding women, sex, and gender and the use of women to justify America's decision to go to war. For example, the administration's call to liberate "e;women of cover,"e; suggesting a woman's right to bare arms is a sign of freedom and progress. Oliver also considers what forms of cultural meaning, or lack of meaning, could cause both the guiltlessness demonstrated by female soldiers at Abu Ghraib and the profound commitment to death made by suicide bombers. She examines the pleasure taken in violence and the passion for death exhibited by these women and what kind of contexts created them. In conclusion, Oliver diagnoses our cultural fascination with sex, violence, and death and its relationship with live news coverage and embedded reporting, which naturalizes horrific events and stymies critical reflection. This process, she argues, further compromises the borders between fantasy and reality, fueling a kind of paranoid patriotism that results in extreme forms of violence.

Situating Kristeva within the context of French feminism, this book guides through Kristeva's intellectual formation in linguistics, Freud, Lacan, and poetics. It shows that Kristeva's writings attempt to unravel the double-bind between static identity, or totalitarianism, on the one hand, and the loss of identity, or delirium, on the other.