Choreographies of the Living explores the implications of shifting from viewing art as an exclusively human undertaking to recognizing it as an activity that all living creatures enact. Carrie Rohman reveals the aesthetic impulse itself to be profoundly trans-species, and in doing so she revises our received wisdom about the value and functions of artistic capacities. Countering the long history of aesthetic theory in the West--beginning with Plato and Aristotle, and moving up through the recent claims of "neuroaesthetics"--Rohman challenges the likening of aesthetic experience to an exclusively human form of judgment. Turning toward the animal in new frameworks for understanding aesthetic impulses, Rohman emphasizes a deep coincidence of humans' and animals' elaborations of fundamental life forces. Examining a range of literary, visual, dance, and performance works and processes by modernist and contemporary figures such as Isadora Duncan, D. H. Lawrence, Virginia Woolf, and Merce Cunningham, Rohman reconceives the aesthetic itself not as a distinction separating humans from other animals, but rather as a framework connecting embodied beings. Her view challenges our species to acknowledge the shared status of art-making, one of our most hallowed and formerly exceptional activities.
Human and animal subjectivity converge in a historically unprecedented way within modernism, as evolutionary theory, imperialism, antirationalism, and psychoanalysis all grapple with the place of the human in relation to the animal. Drawing on the thought of Jacques Derrida and Georges Bataille, Carrie Rohman outlines the complex philosophical and ethical stakes involved in theorizing the animal in humanism, including the difficulty in determining an ontological place for the animal, the question of animal consciousness and language, and the paradoxical status of the human as both a primate body and a "human" mind abstracting itself from the physical and material world. Rohman then turns to the work of Joseph Conrad, D. H. Lawrence, H. G. Wells, and Djuna Barnes, authors who were deeply invested in the relationship between animality and identity. The Island of Dr. Moreau embodies a Darwinian nightmare of the evolutionary continuum; The Croquet Player thematizes the dialectic between evolutionary theory and psychoanalysis; and Women in Love, St. Mawr, and Nightwood all refuse to project animality onto others, inverting the traditional humanist position by valuing animal consciousness. A novel treatment of the animal in literature, Stalking the Subject provides vital perspective on modernism's most compelling intellectual and philosophical issues.
Choreographies of the Living explores the implications of shifting from viewing art as an exclusively human undertaking to recognizing it as an activity that all living creatures enact. Carrie Rohman reveals the aesthetic impulse itself to be profoundly trans-species, and in doing so she revises our received wisdom about the value and functions of artistic capacities. Countering the long history of aesthetic theory in the West--beginning with Plato and Aristotle, and moving up through the recent claims of "neuroaesthetics"--Rohman challenges the likening of aesthetic experience to an exclusively human form of judgment. Turning toward the animal in new frameworks for understanding aesthetic impulses, Rohman emphasizes a deep coincidence of humans' and animals' elaborations of fundamental life forces. Examining a range of literary, visual, dance, and performance works and processes by modernist and contemporary figures such as Isadora Duncan, D. H. Lawrence, Virginia Woolf, and Merce Cunningham, Rohman reconceives the aesthetic itself not as a distinction separating humans from other animals, but rather as a framework connecting embodied beings. Her view challenges our species to acknowledge the shared status of art-making, one of our most hallowed and formerly exceptional activities.
Human and animal subjectivity converge in a historically unprecedented way within modernism, as evolutionary theory, imperialism, antirationalism, and psychoanalysis all grapple with the place of the human in relation to the animal. Drawing on the thought of Jacques Derrida and Georges Bataille, Carrie Rohman outlines the complex philosophical and ethical stakes involved in theorizing the animal in humanism, including the difficulty in determining an ontological place for the animal, the question of animal consciousness and language, and the paradoxical status of the human as both a primate body and a "human" mind abstracting itself from the physical and material world. Rohman then turns to the work of Joseph Conrad, D. H. Lawrence, H. G. Wells, and Djuna Barnes, authors who were deeply invested in the relationship between animality and identity. The Island of Dr. Moreau embodies a Darwinian nightmare of the evolutionary continuum; The Croquet Player thematizes the dialectic between evolutionary theory and psychoanalysis; and Women in Love, St. Mawr, and Nightwood all refuse to project animality onto others, inverting the traditional humanist position by valuing animal consciousness. A novel treatment of the animal in literature, Stalking the Subject provides vital perspective on modernism's most compelling intellectual and philosophical issues.
The Delaware River has been home to steamboats and canoes, swimmers and fishermen, and shipyards and factories for generations. Recreation and industry have long coexisted along its changing banks. Along the Delaware River presents the Delaware River corridor-from Hancock, New York, in the Catskill Mountains, to the mouth of the Delaware Bay-at the beginning of the twentieth century. Postcards, many nearly a hundred years old, are used to show a river system that both resembles and differs greatly from the one we know today.
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