What kind of turn is the turn to ethics? A Right turn? A Left turn? A wrong turn? A U-turn? Ethics is back in literary studies, philosophy, and political theory. Where critiques of universal man and the autonomous human subject had, in recent years, produced a resistance to ethics in many fields of scholarship, today these critiques have generated a crossover among disciplines and led to theories and practices that see and do ethics otherwise. The decentering of the subject, the (...) contributors to this volume suggest, has brought about a recentering of the ethical. The philosophers, political theorists, literary critics and physician whose essays are collected here bring the particularities of their disciplines and training to a vital complex of questions. Many of these authors express concerns that the turn to ethics is a turn away from politics towards moralism. All ultimately conclude, however, that such concerns, rather than leading away from ethics, have helped to reinvigorate the intellectual field in the present moment. Contributors: Judith Butler, Homi K. Bhabha, Lawrence Buell, Nancy Fraser, John Guillory, Beatrice Hanssen, Barbara Johnson, Perri Klass, Chantal Mouffe, Doris Sommer, Rebecca Walkowitz. (shrink)

Paul Robeson was a remarkable singer, a brilliant actor, and an engaged political activist. In his college years he was a football star. Throughout his life he campaigned for the rights the poor, the disadvantaged, and the oppressed. His most famous theatrical role was Othello; when he played the part in London and in New York he was one of the first black actors to do so. The New York production ran on Broadway longer than any other William Shakespeare play (...) had done. But Robeson’s life, which included political and racial attacks, the loss of his US passport, and claims that he was “un-American” (he visited the Soviet Union and compared its treatment of minorities favorably to that of the United States) led to a series of encounters in which Othello, both the role and the play, was in effect reenacted in public, culminating in Robeson’s eloquent testimony before the House Un-American Activities Committee. This essay traces the connections, and the sometimes-uncanny crossovers, between Robeson’s life and Shakespeare’s play. (shrink)

Introduction -- The use and abuse of "use and abuse" -- The pleasures of the canon -- What isn't literature -- What's love got to do with it? -- So you want to read a poem -- Why literature is always contemporary -- On truth and lie in a literary sense -- Go figure -- The impossibility of closure -- Coda: after the humanities.