By Steffen Jacobsen
Hours to break out, 22 extra to survive.
The sunlight published its grip at the mountains within the east as they all started working. searched for their lives, Ingrid and Kasper Hansen can consider just one factor: in the event that they can get in the course of the subsequent 24 hours, they'll see their young ones again.
The query they need to be asking is: why?
Security advisor and personal investigator Michael Sander is tasked with the research of a video that turns out to teach humans being hunted to their deaths. His task is to determine who they're, and why they have been murdered. yet this isn't simply one other case, and those deaths are just one piece of the puzzle.
This time Michael is investigating the darkest reaches of humanity, uncovering crimes that extend extra than he ever imagined.
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Extra resources for Trophy (Jensen & Sander, Book 1)
Example text
For more on La Nausée, see Chapter Four below. 8 For Shields (1994, 62-3), he is Parisian by virtue of being “always as much mythic as […] actual”. 9 This reading draws on the chiastic form of the full title, in which Les Petits poèmes en prose is opposed to the subtitle Le Spleen de Paris. According to Covin (2000), while spleen can be seen to oppose Paris, just as poem opposes prose, in which case the city is re-presented as an Ideal, Paris can also be seen to stand outside the opposition, encompassing the tension between the poles.
It is in this direct access to events that the poem gives to the reader that its fetishistic power resides. 33 For, when Lehmann analyzes “À une Passante” from the perspective of the fetish, he is working from the garments backwards; that is to say that if the garments function in the poem as a fetish it is because the traumatic moment has already occurred: “The character of the fetish alludes in the poem both to the commodity, that is, the fashionable detail on the garment, and to the eroticism of the leg, which in itself can be seen only in its sartorial representation: adorned by stocking and shoe” (Lehmann 2000, 245).
We dress to be part of the crowd, yet to stand out from the crowd” (Wilson 2001, 51). It is precisely in this double movement that the follower of fashion can be compared to that other major but elusive figure of modernity, the flâneur. He, like Dior’s models, is of his time to the extent that he occupies a specific point in history;6 and yet, as Chambers (1999) reminds us, he is always, at least partially, out of step. In addition to being critically perverse, the flâneur is also double in terms of his literary and historical presence.