In an age of disseminated fear and globalized anxiety about the accelerated rhythms of modern life, should literary studies and criticism strive for the altogether “new”? I am interested in whether the intensive search for the “new” or “next” in contemporary culture is of any importance for literary studies. I argue that too much intellectual risk is involved in persistently calling for the new in the appraisal of a literary, or other, text. The scientific and “civilized” quest for a new (...) theory to replace theories that are supposedly outdated may end up degenerating into a positivistic, market-oriented venture into the world of excessive global consumption. The original or new in literature will probably derive from a less “civilized” and rather unconscious effort—a sudden flash of imagination or creativity, for instance. Such an “uncivil” stance regarding interpretation can be fruitfully linked with a form of literary ecology. (shrink)

The book explores the forbidden feelings of beauty, admiration, or satisfaction before instances of terror and human pain from eighteenth-century natural disasters to twenty-first-century terrorist destruction. It explores the fascination felt by the subject witnessing major disasters directly or in a mediated fashion. Emmanouil Aretoulakis' makes the challenging proposition that there is, paradoxically, an ethics in the aesthetic appraisal of terror.