The Invention of Paris is a tour through the streets and history of the French capital under the guidance of radical Parisian author and publisher Eric Hazan. Hazan reveals a city whose squares echo with the riots, rebellions and revolutions of the nineteenth and twentieth centuries. Combining the raconteur’s ear for a story with a historian’s command of the facts, he introduces an incomparable cast of characters: the literati, the philosophers and the artists—Balzac, Baudelaire, Blanqui, Flaubert, Hugo, Maney, and Proust, of course; but also Doisneau, Nerval and Rousseau. It is a Paris dyed a deep red in its convictions. It is haunted and vitalized by the history of the barricades, which Hazan retells in rich detail. The Invention of Paris opens a window on the forgotten byways of the capital’s vibrant and bloody past, revealing the city in striking new colors.
A detailed and inventive study of the thinking at work in modern painting, drawing on a formidable body of scholarly evidence to challenge modernist and phenomenological readings of art history, The Brain-Eye presents a series of interlinked ‘case studies’ in which philosophical thought encounters the hallucinatory sensations unleashed by ‘painter-researchers.’ Rather than outlining a new ‘philosophy of art,’ The Brain-Eye details the singular problems pursued by each of its protagonists. Striking readings of the oeuvres of Delacroix, Seurat, Manet, Gauguin, and Cézanne recount the plural histories of artists who worked to free the differential forces of colour, discovered by Goethe in his Colour Theory, in the name of a “true hallucination” and of a logic proper to the Visual. A rigorous renewal of the philosophical thinking of visual art, The Brain-Eye explores the complex relations between concept and sensation, theory and practice, the discursive and the visual, and draws out the political and philosophical stakes of the aesthetic revolution in modern painting.
Originally published in 1979. Eric Sundquist takes four representative writers—James Fenimore Cooper, Henry David Thoreau, Nathaniel Hawthorne, and Herman Melville—and considers the way in which each grapples with the crucial issues of genealogy and authority in his works. From all four a common pattern emerges: the desire to revolt against the past is countered by the need to invoke or even repeat it. Sundquist's approach to the texts is psychoanalytic, but he does not attempt a clinical dissection of each writer; rather, he determines how personal crisis became material for engaging with larger questions of social and literary crisis.
The acclaimed author of "Inflating a Dog" and "Herb n' Lorna" presents a journey from fiction to truth and back again as he follows the fortunes of a professional memoirist.
Since the disastrous Pompidou years, working-class Paris has been steadily nibbled away, either by destruction or more insidiously by a kind of internal colonization. Take for example a small outlying district populated by Arabs, blacks and poor whites twenty years ago, the L'Olive neighbourhood north of La Chapelle The area is noted as pleasant, people frequent it and explore it, and as the rents are low some settle there. Others follow, first friends and then anyone else. Rents go up, buildings are renovated, bars open, then an organic food shop, a vegan restaurant...The earlier indigenous inhabitants are driven out by the rising rents and settle further away, in Saint-Denis if they are lucky, or else in Garges-ls-Gonesse, Goussainville or God knows where. But new neighbourhoods are emerging, for example the Chinese quarter of Bas Belleville, which has grown since the 1970s to the point that in some streets, such as Rue Civiale or Rue Rampal, the restaurants and shops are all Chinese, with many Chinese sex workers on Boulevard de la Villette. These Chinese almost all come from Wenzhou, a large province south of Shanghai, whose inhabitants are reputedly known for their commercial skills. Paris is constantly changing as a living organism, both for better and for worse. This book is an incitement to open our eyes and lend an ear to the tumult of this incomparable capital, from the Priphrique to Place Vendme, its markets of Aligre and Belleville, its cafs and tabacs, its history from Balzac to Sartre. In some thirty succinct vignettes, from bookshops to beggars, Art Nouveau to street sounds, Parisian writers to urban warts, Jacobins to Surrealism, Hazan offers a host of invaluable aperus, illuminated by a matchless knowledge of his native city.
One day, middle-aged Manhattanite Peter Leroy receives an unsettling postcard from a childhood classmate. With his wife, Albertine, he returns to his hometown of Babbington, Long Island, and finds it both transformed and strangely the same. For Babbington has been "redefined" as a theme park, in a scheme to draw tourists to the struggling community, complete with trained actors, cultural interpreters, and carefully designed simulations of small-town 1950s life. On the wall of Legends restaurant, Peter sees his own commemoration: a picture of the triumphant day when, as a fifteen-year-old boy, he landed on Babbington's Main Street in the aerocycle he had built in his parents' garage, having flown four thousand miles to New Mexico and back. Hailed in newspapers as the "Birdboy of Babbington," the youthful inventor reveled in his fame---but never disclosed the truth behind his flight. Now Peter wants to set the record straight---and with Albertine as his muse and conscience, he begins. Taking Off is the first in a trilogy of novels about Peter Leroy's magical flight and its digressions along the way. Funny, warm, wise, and artful, this book---like all of its companion novels about Peter and his world---explores matters little and large with a light touch. Readers familiar with and new to these novels will delight in the wide-ranging invention and imagination of Peter's creator, Eric Kraft.
Eric Falci's The Value of Poetry offers an evaluation and critique of the literary, cultural, and political value of poetry in the twenty-first century. Falci claims that some of the most vital, significant, and enduring human notions have been voiced and held in poems. Poems marble civilizations: they catch courses of thought, tracks of feeling, and acts of speech and embed these shapes in language that is, in some fashion, poised toward the future. Falci argues that poetry is a vital medium in addressing and understanding some of the most pressing issues of our time. Ranging widely across canonical and contemporary poetry, The Value of Poetry shows how poems matter, and what poetry offers to readers in the contemporary world.
Eric Griffiths delivered hundreds of lectures at the Faculty of English in Cambridge, yet his lectures were never turned into books. If Not Critical brings together ten lectures, published here for the first time, that offer a representative selection of Dr Griffiths' original, fully-argued, and richly exemplified contributions to literary criticism and literary history. Crammed into his writing are decades of reading in several languages and across most genres and literary periods. In these lectures, he pursues the blind spots not only of other people's arguments, but of the whole business of criticism in general, with what he calls its 'over-concentration on a narrow range of examples . . . such over-concentration warps our thinking'. Implicit and explicit throughout his work is the argument that 'an appropriately wide range of instances is essential to making progress in conceptualisation'; that what we need, in order to do better thinking, is 'a keener attention to a greater variety of examples'. Such examples include, in these lectures, the works of Shakespeare, Dante, Kafka, Beckett, Racine, Rabelais, T. S. Eliot, and Jonathan Swift.
In Balzac's vast Human Comedy, a body of ninety-one completed novels and stories, he endeavoured to create a complete picture of contemporary French society and manners. Within this work is a loving ode to Paris and an incomparable introduction to the first capital of the modern world. To this ageless city he makes a declaration of love in an accumulation of finely observed detail - the cafs, landmarks, avenues, parks - and captures the populace in countless meticulously drawn portraits: its lawyers, grisettes, journalists, concierges, usurers, salesmen, speculators. Balzac gathered the elements of this Paris by sauntering through it. 'To saunter is a science,' he writes, 'it is the gastronomy of the eye. To take a walk is to vegetate; to saunter is to live.' Eric Hazan follows in Balzac's footsteps, criss-crossing the city in the novelist's outsize boots, running between printers, publishers, coffee merchants, mistresses and friends, stopping for a moment, struck by a detail that would be fixed in Balzac's photographic memory. More than a tour of the city, Balzac's Paris is an attempt to measure the soul of a city as recovered in its finest literature.
When the celibate Major Gander, C.B., T.D. sold out the family toffee business to American Candy Inc., he was able to retire in comfort. And when he dies from heart failure (it was after a strenuous shoot at the Brackens' Rife Meeting) his gathered relatives found that the thought of his will moderated their grief considerably. For they all felt well placed for at least a few thousand to help them cultivate their favourite virtues and vices! But it was not to be so simple. The Major, they soon discovered, had made his choice of legatee dependent on the most preposterous condition...
The king is dead. Long live the king!" In early modern Europe, the king's body was literally sovereign—and the right to rule was immediately transferrable to the next monarch in line upon the king's death. In The Royal Remains, Eric L. Santner argues that the "carnal" dimension of the structures and dynamics of sovereignty hasn't disappeared from politics. Instead, it migrated to a new location—the life of the people—where something royal continues to linger in the way we obsessively track and measure the vicissitudes of our flesh. Santner demonstrates the ways in which democratic societies have continued many of the rituals and practices associated with kingship in displaced, distorted, and usually, unrecognizable forms. He proposes that those strange mental activities Freud first lumped under the category of the unconscious—which often manifest themselves in peculiar physical ways—are really the uncanny second life of these "royal remains," now animated in the body politic of modern neurotic subjects. Pairing Freud with Kafka, Carl Schmitt with Hugo von Hofmannsthal,and Ernst Kantorowicz with Rainer Maria Rilke, Santner generates brilliant readings of multiple texts and traditions of thought en route to reconsidering the sovereign imaginary. Ultimately, The Royal Remains locates much of modernity—from biopolitical controversies to modernist literary experiments—in this transition from subjecthood to secular citizenship. This major new work will make a bold and original contribution to discussions of politics, psychoanalysis, and modern art and literature.
Williams has found an ingeniously indirect method for dealing with powerful and conservative voices in Trakl criticism, a method that unburdens the debate of its weighty pomposity and elicits delight from readers familiar with the critical context."_Francis Michael Sharp, author of The Poet's Madness: A Reading of Georg Trakl 1993. x, 350 pages.
The poet's statement: "My main influences in writing poetry have been - in no particular order: Alexander Pope, William Shakespeare, Paul Verlaine, Lewis Carroll, Johann Wolfgang von Goethe, Edward Lear, The Beats, Homer, Charles Baudelaire, Dr. Seuss, William Wordsworth, Deborah Boe, T.S. Eliot, John Lennon, Robert Frost, and e.e. cummings.
Identity has become a central feature of national conversations: identity politics and identity crises are the order of the day. We celebrate identity when it comes to personal freedom and group membership, and we fear the power of identity when it comes to discrimination, bias, and hate crimes. Drawing on Isaiah Berlin's famous distinction between positive and negative liberty, Theodor Adorno and the Century of Negative Identity argues for the necessity of acknowledging a dialectic within the identity concept. Exploring the intellectual history of identity as a social idea, Eric Oberle shows the philosophical importance of identity's origins in American exile from Hitler's fascism. Positive identity was first proposed by Frankfurt School member Erich Fromm, while negative identity was almost immediately put forth as a counter-concept by Fromm's colleague, Theodor Adorno. Oberle explains why, in the context of the racism, authoritarianism, and the hard-right agitation of the 1940s, the invention of a positive concept of identity required a theory of negative identity. This history in turn reveals how autonomy and objectivity can be recovered within a modern identity structured by domination, alterity, ontologized conflict, and victim blaming.
Critics have compared him to Proust, Pynchon, and Fred Astaire--an artful, slyly intelligent, wildly inventive observer of Americana. Now Eric Kraft has landed an ambitious comedy set both in our present and in an alternative 1950s universe--Flying. It is the tail end of the 1950s, and in the town of Babbington, New York, a young dreamer named Peter Leroy has set out to build a flying motorcycle, using a design ripped from the pages of Impractical Craftsman magazine. This two-wheeled wonder will carry him not only to such faraway places as New mexico and the Summer Institute in Mathematics, Physics, and Weaponry, but deep into the heart of commercialized American culture, and return him to Babbington a hero. More than forty years later, as Babbington is about to rebuild itself as a theme park commemorating his historic flight, Peter must return home to set the record straight, and confess that his flight did not match the legend that it inspired. Drawing together Eric Kraft's previously published Taking Off and On the Wing with the brand-new final part of the story, Flying Home, Flying is a buoyant comedy of remarkable wingspan, a hilarious story of hoaxes, digressions, do-it-yourself engineering, and the wilds of memory--and a great satire of magical thinking in America.
Aesthetic storytelling: a tradition and theory of animation -- The uncanny integrity of digital commodities (Toy story) -- From the technological to the postmodern sublime (Monsters, Inc.) -- The exceptional dialectic of the fantastic and the mundane (The Incredibles) -- Disruptive sensation and the politics of the new (Ratatouille)
Through readings of novels, medical case studies, travelers' reports, photographs, and paintings, The Hypothetical Mandarin shows that in the West the connection between sympathy and humanity, and indeed between sympathy and reality, has tended to refract with a remarkable frequency through the lens called "China." Eric Hayot, through keen interpretations of myriad art forms and nonfictional writings, reveals how Western responses to Chinese pain go to the heart of the relationship between language and the body, the social and philosophical experience of modernity, and the definition of a universal human subject. In short, this analysis reveals how four terms--sympathy, suffering, economic exchange, and representational exchange--establish the network that frames the historical discourse on China, sympathy, and modernity. It is a book that opens new possibilities for thinking about the West's relationship to China, past and present, and that establishes a new philosophical vantage from which to consider the question of empathy.
Robert Duncan was a defining figure of twentieth-century American poetry. Eric Mottram was a pioneer in the field of American Studies in the UK and a key contributor to the British Poetry Revival. In the 1970s the two men conducted a wide-ranging dialogue on poetry, politics and the religious through an exchange of intense and often expansive letters. Mottram continued the dialogue in two substantive critical examinations of Duncan's work. The Unruly Garden presents an annotated edition of the complete available correspondence along with the two essays. The first essay was heavily edited when originally published and is included here in its restored form. The second essay appeared in a small press magazine and now receives the wider circulation it deserves.
Raking Light is Eric Langley's début collection of poems. Characterised by his rigorous fascination with language's latent etymologies and semantic layers, Langley's poems take their cue from the artconservation technique of 'raking light', in which an oblique beam is thrown across the surface of a picture to expose its textures and overlays. Under raked light, paint reveals its damage and deterioration, its craquelure and canvas-warp, and discloses a backstory of abandoned intentions. With his attentiveness to resonance and echo, Langley picks up on lost meanings and buried contradictions in language, probing its abandoned significances. Finding traces of obscured sense or inarticulacy, his verse picks at words to test their efficacy and authenticity, feeling out their substance, proving their worth. These are poems – elegies, love lyri – concerned with miscommunication, with intentions gone astray, with loss and the uncertainties inherent in interaction. They are excited and exciting, defusing and detonating by turns the 'hectic honeyed hand-grenades / in amongst your alphabets'. // 'Eric Langley's poems energise the mind by means of virtuoso orchestration and exhilarating rhythmic daring and control. You feel that if you look away from the line for even a second you might end up driving into a ditch.' Peter Hughes
Shows how the connection between divinatory magic and reading shaped the experience of reading and aesthetics among nineteenth-century realists and modernist thinkers, including writers, artists, and critics such as Gottfried Keller, Theodor Fontane, and Walter Benjamin"--
InkShard is a compendium of articles and social commentary, written by author Eric Muss-Barnes, between 2004 and 2018. Revised and expanded, this volume assembles various topics culled from posts on social media websites to the scripts of video essays. Carefully compiled from the finest of his journalistic work, InkShard represents the definitive collection of Eric's most compelling dissertations and beloved editorials.
Nearly one hundred years after the death of its composer, the music of Claude Debussy has lost none of its appeal. In this authoritative biography, author Eric Frederick Jensen brings together the most recent biographical research, including a revised catalogue of Debussy's compositions and the first complete edition of his correspondence. With separate, chronological sections on his life and music, Debussy is accessible to the general reader who wishes to focus on his life and personality, while providing detailed discussion of the music to musicians and students.
In this book, Eric Falci reshapes the story of Irish poetry since the 1960s. He shows how polemical arguments concerning the role of poetry in 1960s Ireland evolve into a set of formal and compositional strategies for emerging Irish poets in the mid 1970s and beyond. His study presents a cohesive picture of the relationship between Northern Irish poetry from the Republic of Ireland since World War II and traces the lineage of lyric practice from a unique historical perspective. At the same time, it recontextualizes late twentieth-century Irish poetry within the long Irish poetic tradition, places Irish writing more accurately within the field of postwar Anglophone poetry and offers a new account of lyric's critical capacities. Of interest to Irish studies and twentieth-century poetry specialists, this book provides a much-needed guide to some of the most inventive and notable poetry written in the past forty years.
During and just after World War II, an influential group of American writers and intellectuals projected a vision for literature that would save the free world. Novels, stories, plays, and poems, they believed, could inoculate weak minds against simplistic totalitarian ideologies, heal the spiritual wounds of global catastrophe, and just maybe prevent the like from happening again. As the Cold War began, high-minded and well-intentioned scholars, critics, and writers from across the political spectrum argued that human values remained crucial to civilization and that such values stood in dire need of formulation and affirmation. They believed that the complexity of literature—of ideas bound to concrete images, of ideologies leavened with experiences—enshrined such values as no other medium could. Creative writing emerged as a graduate discipline in the United States amid this astonishing swirl of grand conceptions. The early workshops were formed not only at the time of, but in the image of, and under the tremendous urgency of, the postwar imperatives for the humanities. Vivid renderings of personal experience would preserve the liberal democratic soul—a soul menaced by the gathering leftwing totalitarianism of the USSR and the memory of fascism in Italy and Germany. Workshops of Empire explores this history via the careers of Paul Engle at the University of Iowa and Wallace Stegner at Stanford. In the story of these founding fathers of the discipline, Eric Bennett discovers the cultural, political, literary, intellectual, and institutional underpinnings of creative writing programs within the university. He shows how the model of literary technique championed by the first writing programs—a model that values the interior and private life of the individual, whose experiences are not determined by any community, ideology, or political system—was born out of this Cold War context and continues to influence the way creative writing is taught, studied, read, and written into the twenty-first century.
This beautifully illustrated catalogue highlights 101 works of art from the Fred Jones Jr. Museum of Art at the University of Oklahoma. Combining full-color reproductions with explanatory text, the catalogue presents significant examples of Asian, European, American, American Indian, and contemporary art from the museum’s permanent collection. For visitors to the museum and art aficionados, these pages offer a tour of the museum’s exceptional paintings, sculptures, works on paper, and photographs. Arranged in chronological and thematic sequence, the catalogue entries focus on single works, each by a different artist. Authors Eric McCauley Lee and Rima Canaan discuss the artists’ backgrounds and analyze the featured works. Where appropriate, related objects in the collection appear as accompanying illustrations. The celebrated artists represented in the catalogue include Claude Monet, Pierre-Auguste Renoir, Vincent van Gogh, Pablo Picasso, Edward Hopper, Georgia O’Keeffe, Allan Houser, and members of the Taos Society of Artists. Published to coincide with the opening of the museum’s new wing, designed by renowned architect Hugh Newell Jacobsen and named in honor of Mary and Howard Lester, this catalogue celebrates the extraordinary development of the museum’s collections over nearly three-quarters of a century.
Sellin invites readers to explore the daunting and often unsung work of literary translators. With wry humor and an engaging conversational style, Sellin shares his insight on the art and science of translation, including the many nuanced solutions he’s developed for some of the more sensitive problems that frustrate translators of formal poetry. The essays offer a balance of commentary on structural challenges as well as linguistic and aesthetic issues, giving readers practical and theoretical advice gained from a long career as a professor, poet, editor, and translator.
A walker’s guide to Paris, taking us through its past, present and possible futures Eric Hazan, author of the acclaimed Invention of Paris, takes the reader on a walk from Ivry to Saint-Denis, roughly following the meridian that divides Paris into east and west, and passing such familiar landmarks as the Luxembourg Gardens, the Pompidou Centre, the Gare du Nord and Montmartre, as well as forgotten alleyways and arcades. Weaving historical anecdotes, geographical observations, and literary references, Hazan’s walk guides us through an unknown Paris. With the aid of maps, he delineates the most fascinating and forgotten parts of the city’s past and present. Planning and modernization have accelerated the erasure of its revolutionary history, yet through walking and observation, Hazan shows how we can regain our knowledge of the city of Robespierre, the Commune, Sartre, and the May ’68 uprising. Drawing on his own life story, as surgeon, publisher and social critic, Hazan vividly illustrates the interplay and concord between a city and the personality it forms.
A dramatically new interpretation of the development of the thought of Michel Foucault, one of the 20th century's most influential thinkers. In this lucid and groundbreaking work, Eric Paras reveals that our understanding of the philosophy of Michel Foucault must be radically revised. Foucault's critical axes of power and knowledge -which purposefully eradicated the concept of free will- reappear as targets in his later work. Paras demonstrates the logic that led Foucault to move from a microphysics of power to an aesthetics of individual experience. He is the first to show a transformation that not only placed Foucault in opposition to the archaeological and genealogical positions for which he is renowned, but aligned him with some of his fiercest antagonists. Foucault 2.0 draws on the full range of the philosopher's writing and of the work of contemporaries who influenced, and sometimes vehemently opposed, his ideas. To fill the gaps in Foucault's published writings that have so far limited our conception of the arc of his thought, Paras analyzes the largely untapped trove of lectures Foucault delivered to teeming Paris audiences as Professor of the College de France for more than a decade. At the same time, Foucault 2.0 highlights the background against which Foucault carried out his most foundational work: the unrest of 1968, the prison reform movement of the early 1970s, and the Iranian Revolution of 1979. Carefully assembling the fragments of a thinker who remains but half-understood, Eric Paras has composed a seminal book, essential reading for novices and initiates alike.
Although there are many works dealing with Pompeii and Herculaneum, none of them try to encompass the entire spectrum of material related to its reception in popular imagination. Pompeii’s Ashes surveys a broad variety of such works, ranging from travelogues between ca. 1740 and 2010 to 250 years of fiction, including stage works, music, and films. The first two chapters provide an in-depth analysis of the excavation history and an overview of the reflections of travelers. The six remaining chapters discuss several clearly-defined genres: historical novels with pagan tendencies, and those with Christians and Jews as protagonists, contemporary adventures, time traveling, mock manuscripts, and works dedicated to Vesuvius. “Pompeii’s Ashes” demonstrates how the eternal fascination with the oldest still-running archaeological projects in the world began, developed, and continue until now.
The Music of Ram�n Raquello and his Orchestra & Other Stories is an artist book by Eric Baudelaire that brings together research, images, and texts that have informed the Paris-based artist's work process.Baudelaire's oeuvre has ceaselessly and open-endedly engaged with histories of images, cinema, radical militancy, and violence by or against the state.This artist's book publication follows the largest monographic presentation of his work to date, The Music of Ram�n Raquello and his Orchestra at Witte de With, Rotterdam (27 January - 21 May 2017), and Tabakalera, San Sebasti�n (23 June - 15 October 2017).'...'The Music of Ram�n Raquello and his Orchestra', a superb solo exhibition by French artist Eric Baudelaire [...] Baudelaire's practice inspires questions of violence and belonging, and in so doing it also prompts speculation about the relationship between humans and their environments.' -- Alejandro Alonso D�az in Frieze (June 2017).
Of Critical Theory and its Theorists is an intelligent , accessible overview of the entire Critical Theory Tradition, written by one of the leading experts on the subject. Filled with original insights and valuable historical narratives, Of Critical Theory and Its Theorists covers the work of major philosphical thinkers such as Benjamin, Horkheimer, Adorno, Marcuse and Habermas and revisits the contributions of lesser-known figures such as Karl Korsch and Ernst Bloch. Bronner measures the writing of these theorists against each other, postmodernist philosophers and the critical tradition reaching back to Hegel. Of Critical Theory and Its Thoerists presents new insights useful to experienced scholars and offers clear summaries for students making this book an ideal introduction to the debates surrounding one of the most important intellectual traditions of the 20th Century.
Lahaina Noon is not only a specific study of Maui, but a brilliant examination of a human's place in the cosmos. Eric Paul Shaffer's clear, sane, poems will help you understand where you are wherever you are. --Sara Backer.
A fascinating examination of how restricting speech has continuously shaped our culture, and how censorship is used as a tool to prop up authorities and maintain class and gender disparities Through compelling narrative, historian Eric Berkowitz reveals how drastically censorship has shaped our modern society. More than just a history of censorship, Dangerous Ideas illuminates the power of restricting speech; how it has defined states, ideas, and culture; and (despite how each of us would like to believe otherwise) how it is something we all participate in. This engaging cultural history of censorship and thought suppression throughout the ages takes readers from the first Chinese emperor’s wholesale elimination of books, to Henry VIII’s decree of death for anyone who “imagined” his demise, and on to the attack on Charlie Hebdo and the volatile politics surrounding censorship of social media. Highlighting the base impulses driving many famous acts of suppression, Berkowitz demonstrates the fragility of power and how every individual can act as both the suppressor and the suppressed.
Poetry moves us. Sometimes a poem changes our life. Then we analyze it as a cultural artifact with no special connection to us. An extensive critical apparatus enables us to develop sophisticated interpretations, but we dismiss as "idiosyncratic" even life-changing experiences of poetry. We need an apparatus to unfold our experience of reading poems into a more effective relationship with the world. Modern poets in particular wrote prophetic verse for this purpose. Archetypal psychology and phenomenology describe the soul that modern poetry moves in us. Three prosodic mechanisms activate the psyche. The polyphony of accentual and quantitative versification creates depth to lure the soul. Aural images reshape the reader’s stream of consciousness. Readers follow the movement of blocks of verse across the expanse of the page with what Maurice Merleau-Ponty terms the phenomenal body. These mechanisms reach us at the collective level of consciousness and generate the power we need to solve big, collective challenges, such as race, climate change, and inequality.
Philosophical examination of the ontology and ethics of suicide, i.e., what suicide is from the perspective of being and what the effects of suicide are in the world when it is morally permitted.
Vanishing Moments analyzes how various American authors have reified class through their writing, from the first influx of industrialism in the 1850s to the end of the Great Depression in the early 1940s. Eric Schocket uses this history to document America’s long engagement with the problem of class stratification and demonstrates how deeply America’s desire to deny the presence of class has marked even its most labor-conscious cultural texts. Schocket offers careful readings of works by Herman Melville, Rebecca Harding Davis, William Dean Howells, Jack London, T. S. Eliot, Gertrude Stein, Muriel Rukeyser, and Langston Hughes, among others, and explores how these authors worked to try to heal the rift between the classes. He considers the challenges writers faced before the Civil War in developing a language of class amidst the predominant concerns about race and slavery; how early literary realists dealt with the threat of class insurrection; how writers at the turn of the century attempted to span the divide between the classes by going undercover as workers; how early modernists used working-class characters and idioms to shape their aesthetic experiments; and how leftists in the 1930s struggled to develop an adequate model to connect class and literature. Vanishing Moments’ unique combination of a broad historical scope and in-depth readings makes it an essential book for scholars and students of American literature and culture, as well as for political scientists, economists, and humanists. Eric Schocket is Associate Professor of American Literature at Hampshire College. “An important book containing many brilliant arguments—hard-hitting and original. Schocket demonstrates a sophisticated acquaintance with issues within the working-class studies movement.” --Barbara Foley, Rutgers University
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.