Examines allegory in Hölderlin's later work, exploring subjects such as Freud and Derrida's views of mourning, and offering original readings of works including Impossible Ode, Mnemosyne, and The Churchyard .
Shakespearean Genealogies of Power proposes a new view on Shakespeare’s involvement with the legal sphere: as a visible space between the spheres of politics and law and well able to negotiate legal and political, even constitutional concerns, Shakespeare’s theatre opened up a new perspective on normativity. His plays reflect, even create, "history" in a new sense on the premises of the older conceptions of historical and legal exemplarity: examples, cases, and instances are to be reflected rather than treated as straightforwardly didactic or salvific. Thus, what comes to be recognized, reflected and acknowledged has a disowning, alienating effect, whose enduring aftermath rather than its theatrical immediacy counts and remains effective. In Shakespeare, the law gets hold of its normativity as the problematic efficacy of unsolved – or rarely ever completely solved – problems: on the stage of the theatre, the law has to cope with a mortgage of history rather than with its own success story. The exemplary interplay of critical cultural and legal theory in the twentieth-century – between Carl Schmitt and Hans Kelsen, Walter Benjamin and Ernst Kantorowicz, Hans Blumenberg and Giorgio Agamben, Robert Cover and Niklas Luhmann – found in Shakespeare’s plays its speculative instruments.
Examines allegory in Hölderlin's later work, exploring subjects such as Freud and Derrida's views of mourning, and offering original readings of works including Impossible Ode, Mnemosyne, and The Churchyard .
Productive Digression is a translation of the ancient term poetics: as a practice of theory. The products produced in the mode of poiesis are ‘digressive’ in that they operate off track; they resist the main stream of every day prose. They do so for various reasons and in various respects. Mostly, they are explained historically, relative to historical contexts and, that is, contrary to what they are meant to resist. Instead, this book investigates the modes of resistance, their epistemology of production, in short, the logic of digression. The method addresses the singular exemplarity of art and literature; it elucidates the impact of poiesis as an epistemological challenge and redefines the analysis of literature and art as branches of an Historical Epistemology. Proceeding from the state of affairs in 20th century criticism and aesthetics (Benjamin, Adorno, Blumenberg, Merleau-Ponty), the epistemology of representation (Whitehead, Canguilhem, Bachelard, Rheinberger) is revised in, and with respect to critical consequences (Derrida, Marin, de Man, Agamben). From literary criticism and critical legal studies to the scenario of the life sciences, the essays collected here redirect the logic of research towards the epistemological grounds of an aesthetics underneath the hermeneutics of every day life.
What impact has deconstruction had on the way we read American culture? And how is American culture itself peculiarly deconstructive? To address these questions, this volume brings together some of the most provocative thinkers associated with deconstruction, among them Jacques Derrida, Judith Butler, and Avital Ronnel. Ranging across a wide field, from the ethics of reading to the rhetoric of performance, the contributors offer provocative insights into a new sense of the political. The America of the volume's title turns out to be the place where the politics and poetics of responsibility meet. It is also the place where we confront the tension between difference and profound otherness.
Shakespearean Genealogies of Power proposes a new view on Shakespeare’s involvement with the legal sphere: as a visible space between the spheres of politics and law and well able to negotiate legal and political, even constitutional concerns, Shakespeare’s theatre opened up a new perspective on normativity. His plays reflect, even create, "history" in a new sense on the premises of the older conceptions of historical and legal exemplarity: examples, cases, and instances are to be reflected rather than treated as straightforwardly didactic or salvific. Thus, what comes to be recognized, reflected and acknowledged has a disowning, alienating effect, whose enduring aftermath rather than its theatrical immediacy counts and remains effective. In Shakespeare, the law gets hold of its normativity as the problematic efficacy of unsolved – or rarely ever completely solved – problems: on the stage of the theatre, the law has to cope with a mortgage of history rather than with its own success story. The exemplary interplay of critical cultural and legal theory in the twentieth-century – between Carl Schmitt and Hans Kelsen, Walter Benjamin and Ernst Kantorowicz, Hans Blumenberg and Giorgio Agamben, Robert Cover and Niklas Luhmann – found in Shakespeare’s plays its speculative instruments.
This work refines the notion of metonymy and the underlying notion of conceptual contiguity by describing a fundamental structural property of metonymy. Studied since antiquity, metonymy is a ubiquitous mechanism of meaning construction in context that involves a linguistically coded source concept that directs attention to a situationally relevant target concept. Modelling metonymic contiguity by means of recursive attribute-value structures, inspired by findings from cognitive psychology, suggests that the metonymic relation depends largely on the functionality of the source with respect to the target. Based on this structural property, several patterns can be identified as potential bases for metonymic shifts. How these shifts are coded on the linguistic surface varies depending on whether the focus within the relevant frame is more on the source (metonymy closer to literal use) or more on the target (metonymy closer to word formation). Furthermore, decomposing the contiguity relation into functional relations hints at a potential conceptual distance between the source and target. This approach contributes to understanding the boundaries and possibilities of metonymy.
What impact has deconstruction had on the way we read American culture? And how is American culture itself peculiarly deconstructive? To address these questions, this volume brings together some of the most provocative thinkers associated with deconstruction, among them Jacques Derrida, Judith Butler, and Avital Ronnel. Ranging across a wide field, from the ethics of reading to the rhetoric of performance, the contributors offer provocative insights into a new sense of the political. The America of the volume's title turns out to be the place where the politics and poetics of responsibility meet. It is also the place where we confront the tension between difference and profound otherness.
Productive Digression is a translation of the ancient term poetics: as a practice of theory. The products produced in the mode of poiesis are ‘digressive’ in that they operate off track; they resist the main stream of every day prose. They do so for various reasons and in various respects. Mostly, they are explained historically, relative to historical contexts and, that is, contrary to what they are meant to resist. Instead, this book investigates the modes of resistance, their epistemology of production, in short, the logic of digression. The method addresses the singular exemplarity of art and literature; it elucidates the impact of poiesis as an epistemological challenge and redefines the analysis of literature and art as branches of an Historical Epistemology. Proceeding from the state of affairs in 20th century criticism and aesthetics (Benjamin, Adorno, Blumenberg, Merleau-Ponty), the epistemology of representation (Whitehead, Canguilhem, Bachelard, Rheinberger) is revised in, and with respect to critical consequences (Derrida, Marin, de Man, Agamben). From literary criticism and critical legal studies to the scenario of the life sciences, the essays collected here redirect the logic of research towards the epistemological grounds of an aesthetics underneath the hermeneutics of every day life.
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