On The Lips Of Others

An interdisciplinary study investigating how the name and portrait of Moteuczoma (a.k.a. Moctezuma/Montezuma) II were represented in Aztec monuments and colonial manuscripts and how the concept of fame operated in the Aztec world.

This collection contains six fascinating comedies by the avant-garde playwright, Robert Reichardt. Each is unique in its subject matter, and dazzling in originality. ORANGE LIPS AND THE BARBECUE PEOPLE answers the question about what happens to people when they wind up in Purgatory -- that in-between place described by Dante. Do they just sit and wait? No, they barbecue and run the lives of selected people still on Earth. A group of obnoxious barbecue people get involved with the family of Kenny "Orange Lips" Jung, and this leads to riotous conflict. ECHO AND THE CAMOUFLAGE, is set in modern Chicago, and is loosely based on the Greek Myth of Echo, Narcissus, and Queen Hera. A young blind girl, Echo Seltsam, is suddenly cured and transformed by a miracle into The Blue Lady -- a person of unlimited power. What she does with it, and how it effects her narcissistic, camouflage-wearing Father, Jerry, and others provides the comic structure of the play. The short play, KAREN, THE FUSE LADY, describes a bizarre Summer "romance" in a cheap Chicago tenement, as a young renter becomes involved with his neurotic neighbor. He battles to save his electricity (and sanity) from a woman who has other ideas about how he should live his life. HAT-P-1, OR A BIG CRUNCH. After scientists predict the Universe will soon end in a "Big Crunch," a group gathers in an affluent Chicago suburb for a black-tie party to comfort one another. It doesn't work out that way. The guests soon discover a lot about one another (not much of it good), and engage in various forms of escapism -- primarily focused on unrealistic thoughts about going to HAT-P-1, a newly discovered gigantic planet so light and fluffy it would float on water.

Lynne Huffer’s ambitious inquiry redresses the rift between feminist and queer theory, traversing the space of a new, post-moral sexual ethics that includes pleasure, desire, connection, and betrayal. She begins by balancing queer theorists’ politics of sexual freedoms with a moralizing feminist politics that views sexuality as harm. Drawing on the best insights from both traditions, she builds an ethics centered on eros, following Michel Foucault’s ethics as a practice of freedom and Luce Irigaray’s lyrical articulation of an ethics of sexual difference. Through this theoretical lens, Huffer examines everyday experiences of ethical connection and failure connected to sex, including queer sexual practices, sodomy laws, interracial love, pornography, and work-life balance. Her approach complicates sexual identities while challenging the epistemological foundations of subjectivity. She rethinks ethics “beyond good and evil” without underestimating, as some queer theorists have done, the persistence of what Foucault calls the “catastrophe” of morality. Elaborating a thinking-feeling ethics of the other, Huffer encourages contemporary intellectuals to reshape sexual morality from within, defining an ethical space that is both poetically suggestive and politically relevant, both conceptually daring and grounded in common sexual experience.