The author, one of the most influential Latin Americanists in the US, has published a number of books, but none display the importance of her work in literary criticism, cultural studies and marxist and feminist theory as successfully as this collection o
The cultural Cold War in Latin America was waged as a war of values--artistic freedom versus communitarianism, Western values versus national cultures, the autonomy of art versus a commitment to liberation struggles--and at a time when the prestige of literature had never been higher. The projects of the historic avant-garde were revitalized by an anti-capitalist ethos and envisaged as the opposite of the republican state. The Decline and Fall of the Lettered City charts the conflicting universals of this period, the clash between avant-garde and political vanguard. This was also a twilight of literature at the threshold of the great cultural revolution of the seventies and eighties, a revolution to which the Cold War indirectly contributed. In the eighties, civil war and military rule, together with the rapid development of mass culture and communication empires, changed the political and cultural map. A long-awaited work by an eminent Latin Americanist widely read throughout the world, this book will prove indispensable to anyone hoping to understand Latin American literature and society. Jean Franco guides the reader across minefields of cultural debate and histories of highly polarized struggle. Focusing on literary texts by Garcia Marquez, Vargas Llosa, Roa Bastos, and Juan Carlos Onetti, conducting us through this contested history with the authority of an eyewitness, Franco gives us an engaging overview as involving as it is moving.
This Autobiography is not intended to be a heart-throbbing essence of bitterness, grief or woe. It is written with an open mind, a loving spirit, and a down to earth expression of what women face today, yesterday and yesteryear
Having abandoned his wife, life, family, and homeland, the narrator of My Year of Love flees to Paris to begin his life over again, and finds himself having to rescue himself from the freedom he believed he desired: "I would never have believed that freedom could be a form of captivity, freedom can be like a primeval forest or like the ocean, you can drown in it or disappear and never, never ever find your way out again . . ." With a combination of confession, complaint, and sensual detail, a break is made with the narrator's past, and through writing this very novel the days of his year of love find an order and expression.
Moving through a variety of locales and adventures, The Truth about Marie revisits the unnamed narrator of Toussaint’s acclaimed Running Away, reporting on his now disintegrated relationship with the titular Marie—the story switching deftly between first- and third-person as the narrator continues to drift through life, and Marie does her best to get on with hers. Like all of Toussaint’s novels, The Truth about Marie’s plot matters far less than its pace and tempo, its chain of images, its sequence of events. From pouring rain in Paris to blazing fires on the island of Elba, from moments of intense action to perfectly paced lulls, The Truth about Marie relies on a series of contrasts to tell a beguiling, and finally touching, story of intimacy forever being regained and lost.
This volume is an introduction to the relationship between psychoanalysis and literature. Jean-Michel Rabaté takes Sigmund Freud as his point of departure, studying in detail Freud's integration of literature in the training of psychoanalysts and how literature provided crucial terms for his myriad theories, such as the Oedipus complex. Rabaté subsequently surveys other theoreticians such as Wilfred Bion, Marie Bonaparte, Carl Jung, Jacques Lacan, and Slavoj Žižek. This Introduction is organized thematically, examining in detail important terms like deferred action, fantasy, hysteria, paranoia, sublimation, the uncanny, trauma, and perversion. Using examples from Miguel de Cervantes and William Shakespeare to Sophie Calle and Yann Martel, Rabaté demonstrates that the psychoanalytic approach to literature, despite its erstwhile controversy, has recently reemerged as a dynamic method of interpretation.
In this improbable love story, we meet a man who is obsessed with himself: how he does things and all the ways he might have done them, how he thinks, why he thinks the way that he thinks, how he might do or think otherwise. What happens? He takes driving lessons, goes grocery shopping, slowly yet methodically battles an olive on a plate. It is all simple and amusing until life intercedes: there is love, suddenly, and change, a flurry of emotion, and an unexpected incident with a camera on a ship. Only Jean-Philippe Toussaint - master of poignant deadpan - could write a novel at once so aloof and so touching, where we come to know our narrator intimately while knowing almost nothing about him."--BOOK JACKET.
An unnamed man travels to Shanghai, ostensibly on vacation, but finds himself increasingly unmoored from his life and identity. Caught in a jet-lag reality, he stumbles from adventure to adventure, allowing himself to be led not by sense or instinct but by the onrush of experience, until a call from home jars him back into his life, with all of its own confusions." "In Running Away, the Chaplinesque slapstick of Jean-Philippe Toussaint's acclaimed early works The Bathroom and Camera is replaced by an ever-unfolding fabric of coincidences and misapprehensions, both particularly modern and utterly real. The mature Toussaint shows himself to be no less ingenious an inventor of existential dilemmas, but with a new, surprising tenderness, and a deepened concern for the inexpressible immediacy and sensuality of human experience." --Book Jacket.
With his trademark comically wry phrasing and a sure eye for quirky detail, Echenoz has produced his oddest and most enjoyable novel to date. Chopin's Move interweaves the fates of Chopin, entomologist and recalcitrant secret agent; Oswald, a young foreign-affairs employee who vanishes en route to his new home; Suzy, who gets enmeshed in a tangle of deceit and counterdeceit; the mysterious Colonel Seck, whose motivations are never quite what they seem; and a typically Echenozian supporting cast of neurotic bodyguards, disquieting functionaries, and crafty double agents. As the plot thickens, the characters become embroiled in layer upon layer of deception and double-dealing, leading them further into a world in which nothing can be taken at face value and in which "reality" hinges on apparently harmless coincidence.
Which came first, words or things? Are your words yours, or someone else's? And what do the Crusades have to do with it? And what do ants have to do with it? Jean Ricardou has been given something of a bad rap: he's widely seen as a difficult writer, or worse yet, as an intensely serious one. However, he easily sheds this weighty reputation in his hilariously playful new novel about the notoriously complex world of literary theory. Supplying his readers with everything they need to know to navigate this world, Ricardou uses his own irreverent interpretation of deconstructive theory to ask questions about language and history, theory and life, and all the intriguing connections between them.
With more than 1800 critical entries on the writers and literatures of 33 languages, this work presents the entire range of modern European writing -- from the symbolist and modernist works rooted in the last decades of the nineteenth century; through the avant-garde and existentialist movement to Barthes, Blanchot, Breton, and continental thought pertinent today.
The author, one of the most influential Latin Americanists in the US, has published a number of books, but none display the importance of her work in literary criticism, cultural studies and marxist and feminist theory as successfully as this collection o
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