86 Voltz: The Dead Girl by Michael Avon Oeming, Bryan J. L. Glass

By Michael Avon Oeming, Bryan J. L. Glass

86 volts. That's all this little powerhouse must spring to existence. 86 volts of natural power to perk her up and wake the useless. who's 86 Volts? the place does she come from? What does she wish? those questions bring about stunning solutions, yet don't inform 86, simply because she understands even under you do. She awakes in a global of goals from a few prior unknown event that left her useless upon a headstone waiting for a bolt of lightning to convey her again to life.

What will take place whilst little 86 throws down and mixes it up opposed to a witch and her evil fetus? while black technology and white magic conflict in a religious free-for-all, the single result's natural chaos.

Teaming up once more following their novel QUIXOTE, author BRYAN J.L. GLASS and artist MICHAEL AVON OEMING have concocted one super-charged little fairy story that leaves nobody status following its no-holds-barred, knock-down, drag-out brawl of the residing useless. This 56-page one-shot is chock packed with motion, poetry, darkness and redemption. What extra might you ask for?

Make definite your batteries are totally charged (and your useless are appropriately buried) prior to analyzing this factor of utter mayhem and enjoyable.

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Extra resources for 86 Voltz: The Dead Girl

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Before going any further, we need to clarify the use of our terms. "Self* is a term that Lacan avoids at every turn. The very term is so wrapped in humanist meaning that he could not in good conscience continue to use it. Instead, Lacan speaks of the creation of "the subject"—a term emphasizing the subjected nature of the person and its radical linguistic and cultural construction. However, in his later work (post 1950), Lacan reserves the term "subject" for the subject in language, that is, he reserves the term for one who has moved from the Imaginary to the Symbolic.

It is my contention that similar to the contrastive pairing of Sartre and Lacan, the contrastive pairing of Levinas and Lacan is precisely the set of post-humanist alternate contemporaries we are seeking. Both Levinas and Lacan share some basic interests, and both view their projects as attempts to intervene in the liberal humanist constructions of ethical systems, examining and questioning the nature and the role of the subject in moral action. As such, they stand as two powerful alternatives when discussing in a post-humanist context the question of human subjectivity in general and ethical subjectivity in particular.

Still, the reader should not walk away thinking that in this project I ultimately take a side, either Lacan over Levinas or Levinas over Lacan. 44 It is my strong contention that each thinker has something unique and essential to offer a theory of ethical subjectivity and that to fill in the gaps each needs the other. The book will unfold in four chapters, framed by an introduction and a conclusion. The four chapters will be close readings of key texts by Levinas and Lacan on a particular topic.

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