Maurice Merleau-Ponty et Paul Ricoeur pensent tous deux l’inscription du corps dans la chair du monde, mais ne tirent pas les mêmes conséquences de ce point de départ anthropologique. Le premier creusera toujours plus profond la signification et la portée de toute inscription charnelle en développant une ontologie du sensible, une esthétique de cet entrelacs qui lie l’homme et le monde. Ricoeur, à la différence de son ainé, médiatisera de plus en plus cette inscription dans une herméneutique des identités individuelles (...) et culturelles reconnaissant l’importance structurante des institutions, accentuant la dimension éthique. Entre une quête de l’originaire qui veut retrouver l’expérience d’un être sauvage et une philosophie pour laquelle la vérité est révélation, pour un sujet, d’un sens profond que nous livre une herméneutique de la récollection du sens, quelles affinités et quels motifs de divergence alors? Le point de rupture, s’il en est un, entre les deux philosophes ne tient-il pas à ce que Ricoeur, fidèle à la tradition réflexive, maintient l’idée d’une personne, au moins capable d’une reprise de l’expérience du monde, là où Merleau-Ponty a cherché à s’en affranchir? Faut-il opposer une philosophie de la chair et de la « vision » à une philosophie du texte et de la narration jusque dans leurs conséquences pratiques?If Maurice Merleau-Ponty and Paul Ricoeur both think the inscription of the body in the “flesh” of the world, they differ as regards the consequences they draw from this anthropological starting point. Merleau-Ponty delves ever deeper into the meaning and scope of this carnal inscription, developing an ontology of the sensible, an aesthetic of the intertwining of human and world. Ricoeur, by contrast, explores the implications of this inscription for a hermeneutics of individual and cultural identities which recognizes the structuring importance of institutions, emphasizing the ethical dimension. But what affinities and what divergences are there between a quest for the originary that wishes to recover the experience of wild being and a philosophy for which truth is revelation, for a subject, of a profound meaning yielded to us by a hermeneutic of the recollection of meaning? Does the point of rupture between the two philosophers, if there is one, lie in the fact that Ricoeur, in faithfulness to the reflexive tradition, maintains the idea of a person capable at least of appropriating the experience of the world, while Merleau-Ponty relinquishes it? Is it necessary to oppose a philosophy of the flesh and of “vision” to a philosophy of the text and of narration even in their practical consequences?Maurice Merleau-Ponty e Paul Ricoeur pensano entrambi l’iscrizione del corpo nella carne del mondo, ma non ricavano le stesse conclusioni da questa comune premessa antropologica. Il primo andrà scavando sempre più a fondo il significato e la portata di ogni iscrizione carnale sviluppando un’ontologia del sensibile, un’estetica dell’intreccio che lega l’uomo e il mondo. Ricoeur medierà sempre più quell’iscrizione andando verso un’ermeneutica delle identità individuali e culturali, riconoscendo l’importanza strutturante delle istituzioni e accentuando il rilievo della dimensione etica. Quali affinità e quali divergenze sussistono allora tra una ricerca dell’originario che mira a ritrovare l’esperienza dell’essere selvaggio e una filosofia che pensa la verità come rivelazione al soggetto di un senso profondo che ci viene restituito dal movimento di un’ermeneutica che ne raccoglie pazientememnte le tracce? Il punto di rottura tra le due prospettive non ha forse a che vedere col fatto che Ricoeur resta fedele alla tradizione della riflessione, conserva l’idea che la persona sia capace di una ripresa dell’esperienza del mondo, mentre Merleau-Ponty cerca di affrancarsene? Dobbiamo allora opporre una filosofia della carne e della “visione” a una filosofia del testo e della narrazione fin nelle loro conseguenze d’ordine pratico? (shrink)

This article presents a critical theory of the medium of ‘normative’ prose. Relying on the work of critics of poet's prose and the philosophy of Badiou and Nancy, it commences by defining prose ostensibly as the immaterial and thus invisible dianoia or discursive other to the radically material poeisis. The essay then attempts to trace a brief history of critical attention paid to prose to uphold and further develop this thesis. Using the poeticized prose of (...) Ron Silliman's Tjanting as an exemplary, contemporary text the remainder of the article delineates the three elements of prosaic immateriality. The first is the predominance of the role of deixis in prose as the very act of referring to reference itself devoid of actual referents in the world, the moment of the predominance of prose as normative according to Godzich and Kittay. The second is the attempt by automatized prose discourse to occlude its alterity and the role of poetic alienation in revealing this automatization as a political/ideological construct. This is traced back to the formalism of Shklovsky and then reconsidered in the Language poetics of Ron Silliman's own theorization of the New Sentence as that which resists automatized syllogistic cohesion. Thirdly, the paper looks at the significant incursions in the field by one of the key contemporary thinkers, Giorgio Agamben. Analysing Agamben's theory of prose as the collapse of poetic semiotic singularity into semantic generality, I finish with a consideration of how Silliman's work resists this very gesture in an attempt to create a permanently materialized prose that resists being relegated to dianoia or the prose of generalized connections. (shrink)

Whatever we choose to call Beckett’s series of disjunctive and repetitive paragraphs , Ill Seen Ill Said surely has little in common with the short story or the novella. Yet this is how the editors of the New Yorker, where Beckett’s piece first appeared in English in 1981, evidently thought of it, for like all New Yorker short stories, it is punctuated by cartoons and, what is even more ironic, by a “real” poem, Harold Brodkey’s “Sea Noise” . Notice that (...) the reader immediately knows—or is supposed to know—that Brodkey is a poet and Beckett a fiction writer, not only because “Sea Noise” is designated a poem in the issue’s table of contents, but also because its placement on the page, framed by white space, distinguishes it from Ill Seen Ill Said, which is printed in standard New Yorker columns. Yet if we examine the sound structure of Brodkey’s poem, we find that the rhythm of recurrence is, if anything, less prominent here than in the Beckett “prose.” The four stanzas are of irregular line length ; the stress count ranges from one to five ; rhyme occurs only once, at the end of the poem ; and alliteration and assonance are not marked. Unless we assume that poetry is defined by the sheer decision of its maker to lineate the text, or unless we want to call “Sea Noise” a poem because it is built around a single extended metaphor , there is no rationale for the classification the New Yorker has implicitly adopted.4The meaning of this classification is worth pondering, for it represents, in microcosm, the orthodoxy of every major literature textbook and literary history as well as of most classrooms in the United States and Britain, which that Beckett is a writer who, like the young Joyce or the young Faulkner, wrote in his dim youth some negligible, clotted lyric poems but whose real work belongs to drama and fiction. As such, we don’t teach Beckett in our poetry courses or include him in discussions of contemporary poetry and poetics. The index of any major book on the subject—say, Robert Pinsky’s The Situation of Poetry—will bear this out. And yet the irony is that contemporary poets are increasingly using forms that cannot be properly understood without the example of Beckett’s astonishing “lyrics of fiction”—to use Ryby Cohn’s apt term5—or, as I shall call them, his “associative monologues.” Perhaps, then, it is time to rethink our current procedures of canon making. In what follows, I shall use Ill Seen Ill Said as an example.4. Contemporary prosodists, perhaps because they must account for the difficult case of free verse, generally do equate verse—and hence implicitly the poem—with lineation. For example, Charles O. Hartman, in his recent Free Verse: An Essay in Prosody , observes that, difficult as it is to define the word “poetry” “rigorously and permanently,” verse can be distinguished from prose quite readily:Verse is language in lines. This distinguishes it from prose…. This is not really a satisfying distinction, as it stands, but it is the only one that works absolutely. The fact that we can tell verse from prose on sight, with very few errors…indicates that the basic perceptual difference must be very simple. Only lineation fits the requirements. [P.11]But, as I have just shown in the case of Beckett and Brodkey, what looks like verse may sound like prose and vice versa. The “basic perceptual difference” between the two is surely not as simple as Hartman suggests. I discuss this question from a somewhat different angle in “The Linear Fallacy,” Georgia Review 35 : 855-69.5. See Ruby Cohn, Back to Beckett , chap. 5, “Lyrics of Fiction.”. (shrink)

As strategies of suspicion, skeptical philosophies are themselves suspicious. Despite of their routinely anti-systematic rhetoric, skeptics raise the suspicion of secretly playing into the hands of the ruling regime . In his book Skepticism and Epistemology: The Development and Application of the Skeptical Method in Philosophy, Tim Köhne argues at length that a stabilizing, affirmative trait in fact characterizes all argumentative strategies of radical skepticism, for in the final instance it is not doubt that motivates skepticism but instead the desire (...) for coherence or for a system that would rise beyond all doubt. (shrink)

The hermeneutical process underlying Paul’s exegesis of Exodus 17:6 and Numbers 20:7–11 in 1 Corinthians 10:1–4. In this article, Paul’s use of the Old Testament in 1 Corinthians 10:1–4 comes under scrutiny. In contrast with the theory of some modern scholars that Paul uses, ‘fanciful analogies’, ‘startling figurative claims’ and metaphors that ‘should not he pressed’, in reaching his conclusion that ‘the rock was Christ’, in 1 Corinthians 10:4c, it is indicated that Paul is indeed taking the original text, the (...) Old Testament’s interpretation of the text, and the Jewish tradition of the interpretation of the text, seriously, in the light of the Christ-event. To prove this claim, research of the text (Exodus 17:6 & Numbers 20:7–11), that Paul uses in 1 Corinthians 10:1–4, is followed by research of the ‘world in front of that text’ (Deuteronomy 32, the Psalms and Second Temple Judaism). Contribution : The conclusion that is reached indicates that Paul established within the context of contemporary Jewish practices, a true dialogical relationship between an intertextual handling of the text, and his interpretation thereof in the light of the relevance of the Christ-event for the conflict in the Church of Corinth. (shrink)

Descriptions of emotion incidents were extracted from classic American novels of the Romantic, Victorian, and Modern Periods. These descriptions were then rated by respondents on scales relevant to attribution of responsibility for emotions. It was found that ratings of the emotion descriptions differed across the three literary periods, with descriptions from the Romantic Period being rated most intense and most appropriate, descriptions from the Victorian Period as least intense, and descriptions from the Modern Period as least appropriate. In addition, it (...) was found that the contemporary American folk theory of attribution of responsibility for emotions might be characterised as being based on perceived intensity of emotions, the social appropriateness of emotions, and the degree to which persons other than the emoter might be said to be responsible for the emoter's emotion. These findings are supportive of a growing appreciation in the emotion literature for culturally and historically relative approaches to emotion research. (shrink)

Descriptions of emotion incidents were extracted from classic American novels of the Romantic, Victorian, and Modern Periods. These descriptions were then rated by respondents on scales relevant to attribution of responsibility for emotions. It was found that ratings of the emotion descriptions differed across the three literary periods, with descriptions from the Romantic Period being rated most intense and most appropriate, descriptions from the Victorian Period as least intense, and descriptions from the Modern Period as least appropriate. In addition, it (...) was found that the contemporary American folk theory of attribution of responsibility for emotions might be characterised as being based on perceived intensity of emotions, the social appropriateness of emotions, and the degree to which persons other than the emoter might be said to be responsible for the emoter's emotion. These findings are supportive of a growing appreciation in the emotion literature for culturally and historically relative approaches to emotion research. (shrink)

This paper demonstrates that L'Étranger , Camus's famous novel about an outsider, had by as early as 1946 become just as much of an 'insider' in terms of its affiliation to the Parisian literary tradition. More than an insider simply by virtue of its contemporary place in the French canon, then, the novel is also intertextually bound to a tradition of oxymoronic poetics dating back to Charles Baudelaire's Paris Spleen ( Les Petits poèmes en prose ). I shall (...) examine the way in which L'Étranger performs its prose poetics, thereby establishing it as exemplary of a Parisian model of modernity. Additionally, the famous scene on the beach will be considered as a liminal space and as a literary translation of Paris into the desert, which, once a joke for Paris's relationship to provincial France, became after the Second World War a new allegory for the capital's self-alterity. (shrink)

In this collection of essays, Alain Badiou revisits the age-old problem of the relation between literature and philosophy, arguing against both Plato and Heidegger's famous arguments. Philosophy neither has to ban the poets from the republic nor abdicate its own powers to the sole benefit of poetry or art. Instead, it must declare the end of what Badiou names the "age of the poets," from Holderlin to Celan. Drawing on ideas from his first publication on the subject, "The Autonomy of (...) the Aesthetic Process," Badiou also offers an illuminating set of readings of contemporary French prose writers, giving us fascinating insights into the theory of the novel while also accounting for the specific position of literature between science and ideology. (shrink)

The article discusses the problem of the formation of philosophical prose in the Persian language. The first section presents a brief excursion into the history of philosophical prose in Persian and the stages of formation of modern Persian as a language of science and philosophy. In the Arab-Muslim philosophical tradition, representatives of various schools and trends contributed to the development of philosophical terminology in Farsi. The author dwells on the works of such philosophers as Ibn Sīnā, Nāṣir Khusraw, (...) Naṣīr al-Dīn al-Ṭūsī, Aḥmad al-Ghazālī, ʼAbū Ḥāmid al-Ghazālī and gives an overview of their works written in Persian. The second section poses the question whether the Persian language proved able to compete with the Arabic language in the field of science. The author examines the style of philosophical prose in Farsi, considering the causes of creation of Persian-language philosophical texts and defining their target audience. The article presents viewpoints of modern orientalist researchers as well as the views of medieval philosophers who wrote in Persian. We find that most philosophical texts in Persian were written for a public who had little or no knowledge of the Arabic language, yet wanted to get acquainted with current philosophical and religious doctrines, albeit in an abbreviated format. The conclusion summarizes and presents two positions regarding the necessity of writing philosophical prose in Persian. According to one point of view, Persian-language philosophical works helped people who did not speak Arabic to get acquainted with the concepts and views of contemporary philosophy. According to an alternative view, there was no special need to compose philosophical texts in Persian, because the corpus of Arabic philosophical terminology had already been formed, and these Arabic terms were widely and successfully used, while the new Persian philosophical vocabulary was difficult to understand. (shrink)

Offering a radical reassessment of 1930s British literature, this volume questions the temporal limits of the literary decade, and broadens the scope of queer literary studies to consider literary-historical responses to a variety of behaviours encompassed by the term ‘queer’ in its many senses. Whilst it is informed by the history of sexuality in twentieth-century Europe, it is also profoundly concerned with what Christopher Isherwood termed ‘the market value of the Odd.’ Drawing, for its methodology, on the work of Raymond (...) Williams, it traces the impact of the Great War on the development of language, examining the use of ten ‘keywords’ in the prose of Christopher Isherwood, Evelyn Waugh and Patrick Hamilton, and that of their respective literary milieux, in order to establish how queer lives and modern sub-cultural identities were forged collaboratively within the fictional realm. By utilizing contemporary perspectives on performativity in conjunction with detailed close readings it repositions these authors as self-conscious agents actively producing their own queer masculinities through calculated acts of linguistic transgression. (shrink)

The Master from Mountains and Fields is a fully annotated translation of the prose texts from the "collected works" of Sŏ Kyŏngdŏk (1489-1546), an influential Confucian scholar from the early Chosŏn period (1392-1910). A native of Songdo (also known as Kaesŏng) in present-day North Korea, Sŏ has loomed large in the Korean cultural imagination and appeared as an exceptional sage and popular hero in numerous tales, dramas, and films, yet his writings are little known outside the academic milieu. Also (...) called Master Hwadam, Sŏ embodied an archetype of the secluded scholar who remains hidden in "mountains and forests" to devote himself to his studies. Held in esteem in both South and North Korea today (a notable exception in contemporary studies on Chosŏn Neo-Confucianism), Sŏ and his ideas about Vital Energy influenced the great Korean Neo-Confucian debates of the sixteenth and seventeenth centuries surrounding the psychophysiological origins of morality as well as various non-orthodox intellectual trends in the late Chosŏn. His thought is fundamentally rooted in the cosmology based on the exegesis of the Book of Changes and follows the teachings of various early Chinese Neo-Confucian thinkers; it presents a vivid example of the eclectic nature of ideas and intellectual trends coexisting within what is generically called Neo-Confucianism out of convenience. This volume presents the first English translation of all prose writings attributed to Sŏ and most of the peritexts from his posthumously published collection Hwadam chip. It reflects the importance of literary compilations (munjip) in the intellectual history of Chosŏn and the complex process of the making of Confucian masters in Korea. Sŏ's prose works are concise and diverse and offer a glimpse at an author who thwarts stereotyping; an introduction and annotations provide further context. The lengthy endnotes that accompany each text make this a useful handbook for anybody interested in Chosŏn Korea and Confucianism, from students in East Asian and Korean studies to specialists in literary Chinese (hanmun) or East Asian intellectual history. (shrink)

The Master from Mountains and Fields is a fully annotated translation of the prose texts from the "collected works" of Sŏ Kyŏngdŏk (1489-1546), an influential Confucian scholar from the early Chosŏn period (1392-1910). A native of Songdo (also known as Kaesŏng) in present-day North Korea, Sŏ has loomed large in the Korean cultural imagination and appeared as an exceptional sage and popular hero in numerous tales, dramas, and films, yet his writings are little known outside the academic milieu. Also (...) called Master Hwadam, Sŏ embodied an archetype of the secluded scholar who remains hidden in "mountains and forests" to devote himself to his studies. Held in esteem in both South and North Korea today (a notable exception in contemporary studies on Chosŏn Neo-Confucianism), Sŏ and his ideas about Vital Energy influenced the great Korean Neo-Confucian debates of the sixteenth and seventeenth centuries surrounding the psychophysiological origins of morality as well as various non-orthodox intellectual trends in the late Chosŏn. His thought is fundamentally rooted in the cosmology based on the exegesis of the Book of Changes and follows the teachings of various early Chinese Neo-Confucian thinkers; it presents a vivid example of the eclectic nature of ideas and intellectual trends coexisting within what is generically called Neo-Confucianism out of convenience. This volume presents the first English translation of all prose writings attributed to Sŏ and most of the peritexts from his posthumously published collection Hwadam chip. It reflects the importance of literary compilations (munjip) in the intellectual history of Chosŏn and the complex process of the making of Confucian masters in Korea. Sŏ's prose works are concise and diverse and offer a glimpse at an author who thwarts stereotyping; an introduction and annotations provide further context. The lengthy endnotes that accompany each text make this a useful handbook for anybody interested in Chosŏn Korea and Confucianism, from students in East Asian and Korean studies to specialists in literary Chinese (hanmun) or East Asian intellectual history. (shrink)

Abú Hayyán al-Tawhidi (d. 414/1023) actively contributed to the rich and diverse debate that took place in all fields of adab in the middle Abbasid period. In the 251h night of this Kitab al-imta wal-l-ma ánasa, al-Tawhidi talks about the respective virtues of poetry and prose. This highly entertaining debate where jest and earnest (jidd wa-hazl) are skillfully interwoven, also stands under the influence of Aristotelian ideas that were applied lo literary theory. The article offer> a commented translation with (...) references to other contemporary sources. (shrink)

"The central task of phenomenology is to investigate the nature of consciousness and its relations to objects of various types. The present book introduces students and other readers to several foundational topics of phenomenological inquiry, and illustrates phenomenology's contemporary relevance. The main topics include consciousness, intentionality, perception, meaning, and knowledge. The book also contains critical assessments of Edmund Husserl's phenomenological method. It argues that knowledge is the most fundamental mode of consciousness, and that the central theses constitutive of Husserl's (...) "transcendental idealism" are compatible with metaphysical realism regarding the objects of thought, perception, and knowledge. Helpful tools include introductions that help the reader segue from the previous chapter to the new one, chapter conclusions, and suggested reading lists of primary and some key secondary sources. Key Features: Elucidates and engages with contemporary work in analytic epistemology and philosophy of mind. Provides clear prose explanations of the necessary distinctions and arguments required for understanding the subject. Places knowledge at the center of phenomenological inquiry"--. (shrink)

With Hegel’s observations in his Lectures on Aesthetics, on the difference between the epic poetry of the ancients and the novel as the dominant literary form of the present, we are at the center of these meditations. The great epic poems of antiquity, Homer’s Iliad and Odyssey, for instance, or Virgil’s Aeneid, reflect not only the minds of certain poets; they are, at the same time, as are all great literary works, recognizable as the product of an age; and the (...) age of Homer, the age of epic poetry, Hegel characterizes as a “fundamentally poetic state of the world,” that is a world in which poetry is not merely written, but, as it were, lived. The active intervention and participation of gods in the lives of mortals; groves and springs and hills as the habitats of nymphs and fauns; the poetic comprehension of what is, was at that time not a matter of the poetic imagination at work in the minds of a few chosen individuals, of artists whose successors, much later in history, more often than not lamented their separation from their contemporary surroundings, but was “natural,” a matter of fact, of ways of thinking and feeling shared by the whole community. It is not absurd to say that in such a world our distinctions between imagination and fact were of little importance, if not unknown. It is this that led the young Nietzsche to accuse the first great analytical rationalist of Greece, Socrates, the indefatigable questioner, of having destroyed mythology, of having helped to bring about the end of tragedy, indeed, of Greek art. (shrink)

Ernst Bloch and His Contemporaries is a much needed concise yet comprehensive overview of Ernst Bloch's early and later thought. It fills an important gap in research on the history of German thought in the 20th century by reconstructing the contexts of Bloch's philosophy, while focusing on his contemporaries - Georg Lukács, Walter Benjamin, and Theodor Adorno. Ernst Bloch's influential ideas include his theory of utopian consciousness, his resolute inclination to merge aesthetics and politics, rehabilitation of hope, and atheistic conception (...) of Christianity. Although Bloch's major early texts, Spirit of Utopia and Traces, have recently been translated into English, and there has been renewed interest in Bloch over the last 15 years, he is still relatively unknown compared to other left German-Jewish intellectuals. Ivan Boldyrev places Bloch's often enigmatic prose within contexts more familiar to English-speaking readers, and outlines the most important messages in Bloch's legacy still relevant today to European intellectual discourse, in particular aesthetics and philosophy of history. -/- . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Utopia and the Contemporary British Novel by Caroline EdwardsMark SchmittCaroline Edwards. Utopia and the Contemporary British Novel. Cambridge: Cambridge University Press, 2021. 277 pp. Paperback, ISBN 9781108712392.The development of the novel as a literary form is closely linked to the representational mode of realism and how it can convey the human experience of time. That the novel distinguishes itself substantially from earlier forms of literature in (...) how it attempts to capture temporality through means of literary realism has been acknowledged ever since Ian Watt’s The Rise of the Novel (1957). As such, the novel form underwent dramatic changes throughout the periods of modernity and postmodernity, with modernist and postmodernist techniques of representation mirroring shifts in the temporal experience. But how can the contemporary novel—a category itself loaded with implication and definitional problems—of the twenty-first century confront the particular representational challenges of its time? This is the question that Caroline Edwards addresses in her study Utopia and the Contemporary British Novel. Edwards is concerned with the wider repercussions of the post-postmodernist notion of the Fukuyaman thesis of the “end of history” and the profound challenges to this thesis in the face of the post-9/11 unfolding of the twenty-first century. The temporal experience of this century is marked by what Edwards calls “non-contemporaneity,” that is, a “political, and even ontological uncertainty” (9). In the context of contemporary literature, the resulting “temporal disjointedness that marks our experience in the twenty-first century” has “given rise to different expressions of the unevenness of the contemporary, at the level of novelistic structure, prose style, generic sampling and non-mimetic interventions into otherwise realist narratives and juxtaposed timescales” (9). The notion of non-contemporaneity is drawn from Ernst Bloch’s concept of Ungleichzeitigkeit, which Edwards considers to be “productive to thinking about the complexity of [End Page 595] utopian times and the different kinds of pasts and futures that circulate within our own present moment of contemporaneity, which is inescapably non-contemporaneous with itself ” (30). Edwards considers this noncontemporaneity as a prevalent temporal register in contemporary British fiction that speak to the crises of temporality associated with a range of political, social, and economic events and processes that have marked the first decades of the twenty-first century. The seemingly natural unfolding of the “the linear progressive time of neoliberalism” (8), what Mark Fisher has called “capitalist realism,” has increasingly been put into question, not least due to the 2008 Global Financial Crisis (158). Similarly, Edwards identifies the 2016 Brexit referendum as symptomatic of a nationalism that must, following Michael Gardiner, always appear to be “out of time” (8). Such crises are thus indicative of anachronistic unevenness and conflicting temporalities. Consequently, a literary fiction that wants to adequately represent these struggles with temporality cannot confine itself to the pitfalls of literary realism, but it would be equally ill-suited by resorting to postmodernist metafiction and irony. Rather, as Edwards contends, the twenty-first-century fictions that she discusses attempt to complicate realist modes by using disruptive and experimental narrative techniques that amount to “non-mimetic experiments with narrative voice and structure” and “delinearised” temporalities (4). With this approach, Edwards argues, these texts interrogate the present as unstable.The four main chapters of Edwards’s book proceed by first establishing the dominant philosophical and theoretical concepts underlying her hypothesis. Chapter 2 (“Reading Fictions of the Not Yet”) is a theoretical and methodological chapter and offers an in-depth engagement with theories of temporality and narratology. Edwards’s aim here is to advocate for an updating of conventional narratology to account for the multilayered narrative experiments with time since modernism and especially in contemporary fiction. Her approach to theorization and analysis is inspired by Elizabeth Freeman’s Time Binds: Queer Temporalities, Queer Histories (2010) in the decision to focus on close readings of a small number of primary texts and read them as texts or aesthetic artifacts that develop “theories of their own” (29). The chapter offers an in-depth engagement with Bloch’s philosophy of utopianism and his concept of Ungleichzeitigkeit.Another cornerstone for Edwards’s theory and method is the work of... (shrink)

Part of a series of highly entertaining books on the history of sinning. Eating too much is one of the Western world's greatest problems, but relatively few people would consider it a crime against God. Yet even as gluttony has ceased to be an evil, food and dieting have become a cultural obsessions, with millions of pounds expended on mortifying the flesh with punishing diet and exercise regimes. This brief history of gluttony traces the changing cultural attitudes towards food and (...) pleasure, scarcity and abundance. It reveals how notions of saintliness and purity have helped form modern views of enjoyment, self-mortification, and ultimately nutrition. Restaurant-goers and readers of gourmet magazines rationalize their pursuit of too much food in many ways, but does a slight tinge of guilt makes your meal taste that much better? This book provides the answer, thoroughly exploring humankind's attempts to quell its chief survival strategy - eating. (shrink)

_Nomadic Subjects_ argues for a new kind of philosophical thinking, one that would include the insights of feminism and abandon the hegemonic mode that is conventionally adopted in high theory. Braidotti's personal, surprising, and lively prose insists on an integration of feminism in mainstream discourse. The essays explore problems that are central to current feminist debates including Western epistemology's relation to the "woman question," feminism and biomedical ethics, European feminism, and how American feminists might relate to European movements.

Famous for his declaration on the end of history after free-market liberaleconomy triumphed over communism at the end of the Cold War, FrancisFukuyama is back to elucidate on the recent rise of identity politics inthe second decade of the twenty-first century. Starting with the vote bythe British electorate to leave the European Union, we have seen therise of more populist leaders such as Donald Trump, Viktor Orban, andGeert Wilders using the rhetoric of identity to rile up voters. While thereis a (...) growing body of literature on the subject, what Fukuyama does bestis explaining a complex phenomenon in a simple yet elegant prose tomake his arguments digestible to a wider audience and thus, helpinghim make a case on the danger of ignoring identity politics and its roots. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Playing Attention":Contemporary Aesthetics and Performing Arts Audience EducationMonica Prendergast (bio)IntroductionThe spectator is an essential element of the kind of play we call aesthetic.1We all watch television. We all go to the movies. Some of us also attend live performances such as plays, concerts, operas, dance recitals, poetry or prose readings, and so on. What are the differences to be found among these experiences? The audience experience of (...) television or film is a shared one, although a more fragmented sharing in the case of television, as it is with live arts events. We are aware that we are not alone in viewing a show, that it is a collective event. But we also realize that our presence does not really matter (aside from boosting ratings or adding to box office profits) and that the performance will continue with or without us. We may exit or enter the room or auditorium at will and never offend the actors, because their presence is "mediatized" and we are not sharing the same time or space with them.2 Attending a live performance is otherwise; our presence is a key element of the event and definitely can and does make a significant difference both for ourselves and for the performers. Although the size and qualities of the event and audience may alter this assertion — a huge stadium rock concert is arguably a more mediatized live performance than a small folk club date — it still holds true that presence is one of the most important qualities of audience in live performance.If we can accept that audience presence is central to performance, then it follows that aesthetic education in the performing arts needs to pay some attention to this phenomenon. In a First World culture that is currently over-saturated with mediatized performance, the future health and vitality of live performance is endangered if educators neglect to address the challenges and processes involved in being an audience for the performing arts in arts education curricula. This essay explores how aesthetic/arts education may [End Page 36] assist young people to grow in awareness and understanding of the essential role that is played by audience in attending performance. In examining the work of four contemporary aesthetic philosophers — Hans-Georg Gadamer, Paul Ricoeur, Paul Thom, and James O. Young — I focus on the areas of spectatorship, attention, interpretation, and evaluation/criticism as important qualities of audience-in-performance. I will then offer a possible curriculum framework for audience education in the performing arts that is performative in form and nature; that is, creative, experiential, emergent, and open question-driven.Both classical and contemporary aesthetic philosophy tends to ignore the performing arts in general and audience-in-performance in particular.3 Plato derides performance as anti-reason and Aristotle salvages it by focusing on the audience's experience of catharsis in tragedy, but this fascinating debate gets lost over time as philosophers get caught up in questions around the definition and nature of art. Examinations of audience in aesthetics tend to assume an audience engaged in the more reflective, contemplative, and individual activity of viewing a work of visual art, reading a poem, or appreciating beauty in general. Discussions of performing arts deal with the text of a play or the score of a musical piece as the primary aesthetic object, with performances of these texts or scores considered somehow secondary, less-definable therefore less worthy of serious philosophic consideration.4 Although a number of aesthetic philosophers have taken up performance and audience issues in more recent years, especially regarding issues around "authentic" performance of music on original instruments, the experience of audience-in-performance remains understudied.5 Others, such as Nick Zangwill, try to negate the audience altogether as being a relatively insignificant part of an aesthetic event and argue that the central focus of aesthetics should be on the artist and the creation of artworks.6Fortunately, there have been a few voices in the field that do attend more closely to performing arts in general and audience in particular, or whose work can be effectively applied to this distinct type of aesthetic event. In the next section I will describe... (shrink)

** Named a Best Book of 2007 by Ready Steady Book, an independent book review website, working in association with The Book Depository, which is devoted to reviewing the best books in literary fiction, poetry, history and philosophy. "An invaluable guide to new literary territory, Taylor is equally good in discussing writers whom the reader already knows." -- Raphael Rubenstein, Rain Taxi "The paths that John Taylor invites us to walk in this book are inviting ones: fifty-five luminous essays devoted (...) to the broad avenues and the seductive byways of contemporary writing in France. John Taylor is opinionated but his opinions are rigorously argued ones. He strikes a canny and productive balance among a variety of competing concerns: the will to instruct his readers, the desire to share with them some very real pleasures, the imperative to interpret critically, and so forth. What emerges here is the image of a rare reader, one who is always willing to engage literature on its own terms, and that of a literature that is mobile, ambitious, provocative and deeply invested in the process of becoming. -- Warren Motte, Review of Contemporary Fiction "In this great introduction to some 50 French writers and poets little known outside of France, Taylor (The Presence of Things Past; The World As It Is), winner of the Three Oaks Prize for Fiction, invites his readers on an interesting journey."--Library Journal "Here it is under one cover: a deeply informed, delightful, and provocative stroll' through the literature of postwar France. From the chroniques of Cingria to the mythologies of Barthes, John Taylor introduces us to the prose and poetry of dozens of French authors, many of them regrettably never translated into English. Taylor is a skillful and witty guide, able to locate a writer between the traditions of Catullus and Pavese or to identify a style borrowing equally from Hlderlin and Hemingway. Working across every genre from autobiography to poetry to fiction to travelogue to the essay, these French authors, well known and obscure, have plumbed the quintessential French problem' of subjectivity. Tired of the culture wars? The language-lyric debate? The post-game analysis of post-structuralism? I suggest you dive into any one of John Taylor's Paths' for a reminder of the astonishing breadth and depth and complexity of which literature is capable."--Erica Funkhouser, author, Pursuit "Here we have vast erudition revealed in graceful, arresting sentences, writing that provides confidence and pleasure. John Taylor's writing strongly evokes Henry James' writing about French literature in his own day. Like James, Taylor is both generous and astute, never relinquishing admiration for the intricate process of analysis, analysis that he does so penetratingly and eloquently. However brilliant Taylor's observations, behind them rests a deep esteem for the writer, for his or her work, and for the tradition from which it comes. This is critical writing that is satisfying at every single level."--Richard Goodman, author, French Dirt: The Story of a Garden in the South of France "As they stroll through forgotten quartiers of Paris, wander in memory through the fields of a Norman childhood, reflect on a poem's resemblance to the salt marshes of the Breton coast, mourn the death of a beloved young wife, or look for answers in questions to which the only answers are more questions--France's most celebrated and, in some cases, still uncelebrated contemporary writers are exquisitely captured by John Taylor in a prose both limpid and lapidary and through a host of finely wrought essays, each a small jewel of critical insight, poetic sensitivity, and meticulous interpretation. Like a message in a bottle cast up on the shore, this work offers the English-speaking reader an original and poetic way to understand, appreciate, and love French. (shrink)

Here is a thorough, vividly written introduction to contemporary philosophy and some of the most crucial questions of human existence: the nature of mind and knowledge, the status of moral claims, the existence of God, the role of science, and the mysteries of language, among them. In Thinking It Through, esteemed philosopher Kwame Anthony Appiah shows us what it means to "do" philosophy in our time and why it should matter to anyone who wishes to live a more thoughtful (...) life. Opposing the common misconceptions that being a philosopher means espousing a set of philosophical beliefs, or being a follower of a particular thinker, Appiah argues that "the result of philosophical exploration is not the end of inquiry in a settled opinion, but a mind resting more comfortably among many possibilities, or else the reframing of the question, and a new inquiry." Thinking It Through is organized around eight central topics--mind, knowledge, language, science, morality, politics, law, and metaphysics. It traces how philosophers in the past have considered each subject (how Hobbes, Wittgenstein, and Frege, for example, approached the problem of language) and then explores some of the major questions that still engage philosophers today. More important, Appiah shows us not only what philosophers have thought but how they think, giving us examples we might use in our own attempts to navigate the complex issues that confront any reflective person in the 21st century. Filled with concrete examples of how philosophers work and written in the liveliest prose, Thinking It Through guides readers through the process of philosophical reflection and enlarges our understanding of the central questions of human life. (shrink)

“Any writer worth his salt knows that what cannot be spoken is ultimately the thing worth speaking about; yet most often this humbling awareness is unsaid or covered up. There are some who have made it their business, however, to court failure and acknowledge defeat, to explore the impasse of words before silence. William Franke has created an anthology of such explorations, undertaken in poetry and prose, that stretches from Plato to the present. Whether the subject of discourse is (...) All or Nothing does not matter: the struggle of speech to name the unnameable is the same. This ambitious two-volume undertaking demonstrates a preoccupation as old as Western civilization itself: the limits of language and the virtue of being at a loss for words. How long we have been raiding the Inarticulate!” —Peter S. Hawkins, Boston University “Developments in critical theory during the past two decades have led to renewed interest in negative theology. Books like _Languages of the Unsayable_, _Negation and Theology_, _Derrida and Negative Theology _, and _The Otherness of God _ have signaled the resurgence of this ancient tradition. William Franke’s distinctive contribution is to provide the background and texts from which these recent developments have emerged.” —Mark Taylor, Williams College Apophasis has become a major topic in the humanities, particularly in philosophy, religion, and literature. This monumental two-volume anthology gathers together most of the important historical works on apophaticism and illustrates the diverse trajectories of apophatic discourse in ancient, modern, and postmodern times. William Franke provides a major introductory essay on apophaticism at the beginning of each volume, and shorter introductions to each anthology selection. The second volume, _Modern and Contemporary Transformations_, contains texts by Hölderlin, Schelling, Kierkegaard, Dickinson, Rilke, Kafka, Rosenzweig, Wittgenstein, Heidegger, Weil, Schoenberg, Adorno, Beckett, Celan, Levinas, Derrida, Marion, and more. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Playtexts: Ludics in Contemporary LiteratureWalter E. BromanPlaytexts: Ludics in Contemporary Literature, by Warren Motte; 233 pp. Lincoln: University of Nebraska Press, 1995, $31.50.When readers early encounter such stuff as “Thus in the category of agôn, for example, hide-and-seek would tend toward paidia, whereas chess would tend toward ludus” (p. 7), they suspect that this book will be a rugged and humorless read, in spite of the (...) fun hinted at in the title. Much of the book turns out to fulfill this dread. There is no escaping the sour smell of academic jargon: “to privilege,” “to foreground,” “to marginalize,” “diegetic frame,” etc., or the tangled infelicities of academic prose.Professor Motte sets out to examine a series of texts, “... each text considered a different ludic economy with its own rules and norms, but all texts defined as language games” (p. 15). While struggling through the discussions of Gombrowicz’s Ferdydurke, André Breton’s Nadja, or Albertine Sarrazin’s Astragal, one catches glimpses of a book that might have assumed sumptuous flesh. This is especially true in the chapter on Nabakov’s Pale Fire, which is quite interesting and well written. Nabakov’s is “an agonistic game that pits Kinbote against Slade, the Sladeans against Kinbote, Kinbote against us the readers, Nabakov against Kinbote, we the readers against Nabakov” (p. 81). This is a game in which Nabakov offers his readers “a full partnership in the creative process” (p. 82). I was forced to recognize that I had enjoyed reading Pale Fire, all the while only being aware of a minim of these ludic convolutions!A major problem with this book and with the books Professor Motte discusses can be shown most vividly in the chapter on Georges Perec’s La Disparition, where the game is to write an entire novel without using the letter “e.” This “literary machine” is supposed to be geared for expressing the iron impositions of life and its ineluctable loss and lack. I suspect that this semantic juice is squeezed out only by critical legerdemain. The discussion merely succeeds in convincing me that this literary tour de force might be suitable for Guinness’s Book of Records, but would likely be a boring read. It reminds me of a Rube Goldberg contraption or of Johnson’s dog walking on its “hinder legs.” Calling this a lipogram linked to Greek antiquity does little to rinse away the sweaty scent of useless exertion.Professor Motte includes a quotation from Eco referring to Swift’s book-making machine in the Grand Academy of Lagado, which provides a sinister and ludicrous image of much of this ludic literature. Eco sees the text as a “combinatory, ludic machine” (p. 191). This literature as machine and game is remarkable for its lack of any concern for the reader: “... the game is finally less vital for us than it seems to have been for Gombrowicz” (p. 68). Compare this with Dryden who took it as axiomatic that the audience’s “concernment” is of vital importance. Now, though, the readerly text is supplanted by the writerly (p. 163). René Bellato builds up “a narrative technique based on the systematic [End Page 243] frustration of the reader’s expectations...” (p. 166). A kind of apex of readerly boredom is devised in Harry Matthew’s literary machine “Matthew’s algorithm”—exemplified by the permutational poetics in Le Savoir des rois, where the same verse is given endless alterations of word order. There lurks a sniffy implication that if you don’t go along with this sort of game you aren’t a good reader. I don’t mind straining to be a good reader if the reward is commensurate with the effort. Professor Motte never explains why we ought to bother.Professor Motte presents various interesting theories of play, as diverse as Huizinga’s Homo Ludens and Freud, but his own position is not easy to discern. He seems to be sympathetic with Calvino’s notion that “all literature is play” (p. 142). For this to be true, the definition of ludics or play would have to have a Humpty Dumpty squishiness. It would have to be ample... (shrink)

Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

Lucian's Hippias or The Bath, traditionally considered to be a straight-faced encomium of a historical architect and real-life bath-house of the Antonine period, is now often judged to be a work of satire, though what exactly is being satirized has remained elusive. This article argues that the architect ‘Hippias’ is closely modelled on Plato's caricature of the sophist Hippias of Elis in the Hippias Minor, and that his bath-house is a comic extrapolation from the sophist's home-made oil-flask and strigil. Lucian's (...) Hippias should be read as a parody of contemporary prose encomia of public buildings. (shrink)

In his monumental 1687 work, _Philosophiae Naturalis Principia Mathematica_, known familiarly as the _Principia_, Isaac Newton laid out in mathematical terms the principles of time, force, and motion that have guided the development of modern physical science. Even after more than three centuries and the revolutions of Einsteinian relativity and quantum mechanics, Newtonian physics continues to account for many of the phenomena of the observed world, and Newtonian celestial dynamics is used to determine the orbits of our space vehicles. This (...) authoritative, modern translation by I. Bernard Cohen and Anne Whitman, the first in more than 285 years, is based on the 1726 edition, the final revised version approved by Newton; it includes extracts from the earlier editions, corrects errors found in earlier versions, and replaces archaic English with contemporary prose and up-to-date mathematical forms. Newton's principles describe acceleration, deceleration, and inertial movement; fluid dynamics; and the motions of the earth, moon, planets, and comets. A great work in itself, the _Principia_ also revolutionized the methods of scientific investigation. It set forth the fundamental three laws of motion and the law of universal gravity, the physical principles that account for the Copernican system of the world as emended by Kepler, thus effectively ending controversy concerning the Copernican planetary system. The illuminating Guide to Newton's _Principia_ by I. Bernard Cohen makes this preeminent work truly accessible for today's scientists, scholars, and students. (shrink)

In his monumental 1687 work, _Philosophiae Naturalis Principia Mathematica_, known familiarly as the _Principia_, Isaac Newton laid out in mathematical terms the principles of time, force, and motion that have guided the development of modern physical science. Even after more than three centuries and the revolutions of Einsteinian relativity and quantum mechanics, Newtonian physics continues to account for many of the phenomena of the observed world, and Newtonian celestial dynamics is used to determine the orbits of our space vehicles. This (...) authoritative, modern translation by I. Bernard Cohen and Anne Whitman, the first in more than 285 years, is based on the 1726 edition, the final revised version approved by Newton; it includes extracts from the earlier editions, corrects errors found in earlier versions, and replaces archaic English with contemporary prose and up-to-date mathematical forms. Newton's principles describe acceleration, deceleration, and inertial movement; fluid dynamics; and the motions of the earth, moon, planets, and comets. A great work in itself, the _Principia_ also revolutionized the methods of scientific investigation. It set forth the fundamental three laws of motion and the law of universal gravity, the physical principles that account for the Copernican system of the world as emended by Kepler, thus effectively ending controversy concerning the Copernican planetary system. The translation-only edition of this preeminent work is truly accessible for today's scientists, scholars, and students. (shrink)

In his monumental 1687 work, _Philosophiae Naturalis Principia Mathematica_, known familiarly as the _Principia_, Isaac Newton laid out in mathematical terms the principles of time, force, and motion that have guided the development of modern physical science. Even after more than three centuries and the revolutions of Einsteinian relativity and quantum mechanics, Newtonian physics continues to account for many of the phenomena of the observed world, and Newtonian celestial dynamics is used to determine the orbits of our space vehicles. This (...) authoritative, modern translation by I. Bernard Cohen and Anne Whitman, the first in more than 285 years, is based on the 1726 edition, the final revised version approved by Newton; it includes extracts from the earlier editions, corrects errors found in earlier versions, and replaces archaic English with contemporary prose and up-to-date mathematical forms. Newton's principles describe acceleration, deceleration, and inertial movement; fluid dynamics; and the motions of the earth, moon, planets, and comets. A great work in itself, the _Principia_ also revolutionized the methods of scientific investigation. It set forth the fundamental three laws of motion and the law of universal gravity, the physical principles that account for the Copernican system of the world as emended by Kepler, thus effectively ending controversy concerning the Copernican planetary system. The translation-only edition of this preeminent work is truly accessible for today's scientists, scholars, and students. (shrink)