Madmen and Other Survivors: Reading Lu Xun's Fiction puts the short stories written by this outstanding Chinese writer between 1918 and 1926 into a broad context of Modernism. The fiction of Lu Xun (1881–1936) deals with the China moving beyond the 1911 Revolution. He asks about the possibilities of survival, and what that means, even considering the possibility that madness might be a strategy by which that is possible. Such an idea calls identity into question, and Lu Xun is read here as a writer for whom that is a wholly problematic concept. The book makes use of critical and cultural theory to consider these short stories in the context of not only Chinese fiction, but in terms of the art of the short story, and in relation to literary modernism. It attempts to put Lu Xun into as wide a perspective as possible for contemporary reading. To make his work widely accessible, he is treated here in English translation.
Literature and Psychoanalysis is an exciting, and compulsive working through of what Freud really said, and why it is so important, with a chapter on Melanie Klein and object relations theory, and two chapters on Lacan, and his work on the unconscious as structured like a language. Investigating different forms of literature through a careful examination of Shakespeare, Blake, the Sherlock Holmes stories, and many other examples from literature, the book makes the argument for taking literature and psychoanalysis together, and essential to each other. The book places both literature and psychoanalysis into the context of all that has been said about these subjects in recent debates in the theory of Derrida and Foucault and Žižek, and into the context of gender studies and queer theory.
Hölderlin (1770-1843) is the magnificent writer whom Nietzsche called 'my favourite poet'. His writings and poetry have been formative throughout the twentieth century, and as influential as those of Hegel, his friend. At the same time, his madness has made his poetry infinitely complex as it engages with tragedy, and irreconcilable breakdown, both political and personal, with anger and with mourning. This study gives a detailed approach to Hölderlin's writings on Greek tragedy, especially Sophocles, whom he translated into German, and gives close attention to his poetry, which is never far from an engagement with tragedy. Hölderlin's writings, always fascinating, enable a consideration of the various meanings of tragedy, and provide a new reading of Shakespeare, particularly Julius Caesar, Hamlet and Macbeth; the work proceeds by opening into discussion of Nietzsche, especially The Birth of Tragedy. Since Hölderlin was such a decisive figure for Modernism, to say nothing of modern Germany, he matters intensely to such differing theorists and philosophers as Walter Benjamin, Theodor Adorno, Martin Heidegger, Maurice Blanchot and Jacques Derrida, all of whose views are discussed herein. Drawing upon the insights of Hegelian philosophy and psychoanalysis, this book gives the English-speaking reader ready access to a magnificent body of poetry and to the poet as a theorist of tragedy and of madness. Hölderlin's poetry is quoted freely, with translations and commentary provided. This book is the first major account of Hölderlin in English to offer the student and general reader a critical account of a vital body of work which matters to any study of poetry and to all who are interested in poetry's relationships to madness. It is essential reading in the understanding of how tragedy pervades literature and politics, and how tragedy has been regarded and written about, from Hegel to Walter Benjamin.
This book is about representations of the devil in English and European literature. Tracing the fascination in literature, philosophy, and theology with the irreducible presence of what may be called evil, or comedy, or the carnivalesque, this book surveys the parts played by the devil in the texts derived from the Faustus legend, looks at Marlowe and Shakespeare, Rabelais, Milton, Blake, Hoffmann, Baudelaire, Goethe, Dostoevsky, Bulgakov, and Mann, historically, speculatively, and from the standpoint of critical theory. It asks: Is there a single meaning to be assigned to the idea of the diabolical? What value lies in thinking diabolically? Is it still the definition of a good poet to be of the devil's party, as Blake argued?
In the nineteenth century, Charles Dickens backed the cause of abolition of the death penalty and wrote comprehensively about it, in public letters and in his novels. At the end of the twentieth century, Jacques Derrida ran two years of seminars on the subject, which were published posthumously. What the novelist and the philosopher of deconstruction discussed independently, this book brings into comparison. Tambling examines crime and punishment in Dickens's novels Barnaby Rudge, A Tale of Two Cities, Oliver Twist and Bleak House and explores those who influenced Dickens's work, including Hogarth, Fielding, Godwin and Edgar Allen Poe. This book also looks at those who influenced Derrida – Freud, Nietzsche, Foucault and Blanchot – and considers Derrida's study on terrorism and the USA as the only major democracy adhering to the death penalty. A comprehensive study of punishment in Dickens, and furthering Derrida's insights by commenting on Shakespeare and blood, revenge, the French Revolution, and the enduring power of violence and its fascination, this book is a major contribution to literary criticism on Dickens and Derrida. Those interested in literature, criminology, law, gender, and psychoanalysis will find it an essential intervention in a topic still rousing intense argument.
Many people are intimidated by poetry, thinking it difficult and high-brow and not for them. But it is still considered an essential part of art and literature. RE:Verse asks; Why and How should we read poetry? This book, aimed at people just starting with literature, takes nothing for granted but opens poetry up to all in a way that makes it both exciting and fresh. Examples are taken from a balanced combination of traditional writers such as Keats, Wordsworth, Blake and Shakespeare, and modern poets such as Seamus Heaney, Jackie Kay and Benjamin Zephaniah. RE:Verse ranges over all periods of literature, and over the many critical theories that attempt to show why poetry matters. It places poems into their historical context, looks at poetry in translation, and discusses why much poetry is so difficult as to seem almost unreadable. It sets the standard for talking about how to read poetry, and what to do when this seems to be impossibly difficult. Ultimately, it is the essential, easy-to-read guide to the subject.
On Anachronism joins together Shakespeare and Proust as the great writers of love to show that love is always anachronistic, and never more so when it is homosexual. Drawing on Nietzsche, Freud, Heidegger, Derrida, Blanchot and Levinas and Deleuze, difficult but essential theorists of the subject of "being and time" and "time and the other" the book examines why speculation on time has become so crucial within modernity. Through the related term "anachorism," it considers how discussion of time always turns into discussion of space, and how this, too, can never be quite defined. It speculates on chance and thinks of ways in which a quality of difference within time -- heterogeneity, anachronicity -- is essential to think of what is meant by "the other." The book examines how contemporary theory considers the future and its relation to the past as that which is inescapable in the form of trauma. It considers what is meant by "the event," that which is the theme of all post-Nietzschean theory and which breaks in two conceptions of time as chronological.
Literature and Psychoanalysis is an exciting, and compulsive working through of what Freud really said, and why it is so important, with a chapter on Melanie Klein and object relations theory, and two chapters on Lacan, and his work on the unconscious as structured like a language. Investigating different forms of literature through a careful examination of Shakespeare, Blake, the Sherlock Holmes stories, and many other examples from literature, the book makes the argument for taking literature and psychoanalysis together, and essential to each other. The book places both literature and psychoanalysis into the context of all that has been said about these subjects in recent debates in the theory of Derrida and Foucault and Žižek, and into the context of gender studies and queer theory.
This study of Nicholas Nickleby takes the Dickens novel which is perhaps the least critically discussed, though it is very popular, and examines its appeal and its significance, and finds it one of the most rewarding and powerful of Dickens’s texts. Nicholas Nickleby deals with the abduction and destruction of children, often with the collusion of their parents. It concentrates on this theme in a way which continues from Oliver Twist, describing such oppression, and the resistance to it, in the language of melodrama, of parody and comedy. With chapters on the school-system that Dickens attacks, and its grotesque embodiment in Squeers, and with discussion of how the novel reshapes eighteenth century literary traditions, and such topics as the novel’s comedy, and the concept of the ‘humorist’; and ‘theatricality’ and its debt to Carlyle,, the book delves into the way that the novel explores madness within the city in those whose lives have been fractured, or ruined, as so many have been, and considers the symptoms of hypocrisy in the lives of the oppressors and the oppressed alike; taking hypocrisy as a Dickensian subject which deserves further examination. Dickens, Nicholas Nickleby, and the Dance of Death explores ways in which Dickens draws on medieval and baroque traditions in how he analyses death and its grotesquerie, especially drawing on the visual tradition of the ‘dance of death’ which is referred to here and which is prevalent throughout Dickens’s novels. It shows these traditions to be at the heart of London, and aims to illuminate a strand within Dickens’s thinking from first to last. Drawing on the critical theory of Walter Benjamin, Freud, Nietzsche and Marx, and with close detailed readings of such well-known figures as Mrs Nickleby, Vincent Crummles and his theatrical troupe, and Mr Mantalini, and attention to Dickens’s description, imagery, irony, and sense of the singular, this book is a major study which will help in the revaluation of Dickens’s early novels.
Blake's Night Thoughts discusses Blake as a poet and artist of night, considering night through graveyard poetry and Young in the eighteenth century, urbanism in the nineteenth and Levinas and Blanchot's writings in the twentieth. Taking "night" as the breakdown of rational progressive thought and of thought based on concepts of identity, the book reads the lyric poetry, some Prophetic works, including a chapter on The Four Zoas, the illustrations to Young, and Dante, and looks at Blake's writing of madness.
Foucault and Religion is the first major study of Michel Foucault in relation and response to Religion. Jeremy Carrette offers us a challenging new look at Foucault's work and addresses a religious dimension that has previously been neglected. We see that prior to Foucault's infamous unpublished volume in the 'History of Sexuality', on the theme of Christianity, there is a complex religious sub-text which anticipates this final unseen work. Jeremy Carrette argues that Foucault offers a twofold critique of Christianity by bringing the body and sexuality into religious practice and exploring a political spirituality of the self. He shows us that Foucault's creation of a body theology through the death of God, reveals how religious beliefs reflect the sexual body, questions the notion of a mystical archaeology and exposes the political technology of confession. Anyone interested in understanding Foucault's thought in a new light will find this book a truly fascinating read.
The best resource for projecting future performance of minor league athletes—essential for fantasy league baseball players The first book of its kind to fully integrate sabermetrics and scouting, the 2022 Minor League Baseball Analyst provides a distinctive brand of analysis for more than 1,000 minor league baseball players. Features include scouting reports for all players, batter skills ratings, pitch repertoires, performance trends, major league equivalents, and expected major league debuts. A complete sabermetric glossary is also included. This one-of-a-kind reference is ideally suited for baseball analysts and those who play in fantasy leagues with farm systems.
Wong Kar-wai's controversial film, Happy Together, was released in Hong Kong just before the handover of power in 1997. The film shows two Chinese gay men in Buenos Aires and reflects on Hong Kong's past and future by probing masculinity, aggression, identity, and homosexuality. It also gives a reading of Latin America, perhaps as an allegory of Hong Kong as another post-colonial society. Examining one single, memorable, and beautiful film, but placing it in the context of other films by Wong Kar-wai and other Hong Kong directors, this book illustrates the depth, as well as the spectacle and action, that characterizes Hong Kong cinema. Tambling investigates the possibility of seeing Happy Together in terms of 'national allegory', as Fredric Jameson suggests Third World texts should be seen. Alternatively, he emphasizes the fragmentary nature of the film by discussing both its images and its narrative in the light of Borges and Manuel Puig. He also looks at the film's relation to the American road movie and to the history of the tango. He poses questions how emotions are presented in the film (is this a 'nostalgia film'?); whether the masculinity in it should be seen negatively or as signs of a new hopefulness about Hong Kong's future; and whether the film indicates new ways of thinking of gender relationships or sexuality.
Focusing on the language, style, and poetry of Dickens’ novels, this study breaks new ground in reading Dickens’ novels as a unique form of poetry. Dickens’ writing disallows the statement of single unambiguous truths and shows unconscious processes burrowing within language, disrupting received ideas and modes of living. Arguing that Dickens, within nineteenth-century modernity, sees language as always double, Tambling draws on a wide range of Victorian texts and current critical theory to explore Dickens’ interest in literature and popular song, and what happens in jokes, in caricature, in word-play and punning, and in naming. Working from Dickens’ earliest writings to the latest, deftly combining theory with close analysis of texts, the book examines Dickens’ key novels, such as Pickwick Papers, Martin Chuzzlewit, Dombey and Son, Bleak House, Little Dorrit, Great Expectations, and Our Mutual Friend. It considers Dickens as constructing an urban poetry, alert to language coming from sources beyond the individual, and relating that to the dream-life of characters, who both can and cannot awake to fuller, different consciousness. Drawing on Walter Benjamin, Lacan, and Derrida, Tambling shows how Dickens writes a new and comic poetry of the city, and that the language constitutes an unconscious and secret autobiography. This volume takes Dickens scholarship in exciting new directions and will be of interest to all readers of nineteenth-century literary and cultural studies, and more widely, to all readers of literature.
Focusing on the language, style, and poetry of Dickens’ novels, this study breaks new ground in reading Dickens’ novels as a unique form of poetry. Dickens’ writing disallows the statement of single unambiguous truths and shows unconscious processes burrowing within language, disrupting received ideas and modes of living. Arguing that Dickens, within nineteenth-century modernity, sees language as always double, Tambling draws on a wide range of Victorian texts and current critical theory to explore Dickens’ interest in literature and popular song, and what happens in jokes, in caricature, in word-play and punning, and in naming. Working from Dickens’ earliest writings to the latest, deftly combining theory with close analysis of texts, the book examines Dickens’ key novels, such as Pickwick Papers, Martin Chuzzlewit, Dombey and Son, Bleak House, Little Dorrit, Great Expectations, and Our Mutual Friend. It considers Dickens as constructing an urban poetry, alert to language coming from sources beyond the individual, and relating that to the dream-life of characters, who both can and cannot awake to fuller, different consciousness. Drawing on Walter Benjamin, Lacan, and Derrida, Tambling shows how Dickens writes a new and comic poetry of the city, and that the language constitutes an unconscious and secret autobiography. This volume takes Dickens scholarship in exciting new directions and will be of interest to all readers of nineteenth-century literary and cultural studies, and more widely, to all readers of literature.
On Reading the Will studies the will, will-power and wilfulness, the will to death or the will to power, as well as lack of will. It surveys many texts - from Augustine, Shakespeare, Dickens, Trollope, George Eliot and D.H. Lawrence - in order to analyse the history of its different meanings: whether these imply rational or irrational drives, or the sexual appetite, or the testamentary will. This last is a particularly interesting form of the will, in that it asserts the desire to control, and to have an identity beyond death. Drawing on philosophies of the will in Schopenhauer and Nietzsche, the book studies music as the embodied will in Wagner and Verdi. Considering the law and its prohibitions as a form of the will, it sees how these produce a perverse will. Drawing on Freud and Lacan it studies interrelationships between the law which prohibits and the desire which wills, how desire creates the law, and the law desire. What stands out is that the authors studied are fascinated by the will as unknowable and irresistible, as rational and countermanding rationality, as divided and imperious. Chapters include how wills motivate plots in Shakespeare and the Victorian novel. Discussion of opera and Nietzsche focuses on the will as an unconscious force.--
This volume brings to the reader the art and architecture of Macao, and the baroque treasures that make the territory so attractive. As the authors consider the special nature of Macao's baroque, they discuss whether its Chinese architecture are also baroque; and what is the importance of the new casino architecture.
This book is about representations of the devil in English and European literature. Tracing the fascination in literature, philosophy, and theology with the irreducible presence of what may be called evil, or comedy, or the carnivalesque, this book surveys the parts played by the devil in the texts derived from the Faustus legend, looks at Marlowe and Shakespeare, Rabelais, Milton, Blake, Hoffmann, Baudelaire, Goethe, Dostoevsky, Bulgakov, and Mann, historically, speculatively, and from the standpoint of critical theory. It asks: Is there a single meaning to be assigned to the idea of the diabolical? What value lies in thinking diabolically? Is it still the definition of a good poet to be of the devil's party, as Blake argued?
In the nineteenth century, Charles Dickens backed the cause of abolition of the death penalty and wrote comprehensively about it, in public letters and in his novels. At the end of the twentieth century, Jacques Derrida ran two years of seminars on the subject, which were published posthumously. What the novelist and the philosopher of deconstruction discussed independently, this book brings into comparison. Tambling examines crime and punishment in Dickens's novels Barnaby Rudge, A Tale of Two Cities, Oliver Twist and Bleak House and explores those who influenced Dickens's work, including Hogarth, Fielding, Godwin and Edgar Allen Poe. This book also looks at those who influenced Derrida – Freud, Nietzsche, Foucault and Blanchot – and considers Derrida's study on terrorism and the USA as the only major democracy adhering to the death penalty. A comprehensive study of punishment in Dickens, and furthering Derrida's insights by commenting on Shakespeare and blood, revenge, the French Revolution, and the enduring power of violence and its fascination, this book is a major contribution to literary criticism on Dickens and Derrida. Those interested in literature, criminology, law, gender, and psychoanalysis will find it an essential intervention in a topic still rousing intense argument.
‘Among the numerous books on Dickens’s London, Going Astray is unique in combining detailed topography and biography with close textual analysis and theoretically informed critiques of most of the novelist’s major works. In Jeremy Tambling’s intriguing and illuminating synthesis, the London A-Z meets Nietzsche, Benjamin and Derrida.’ Rick Allen, author of The Moving Pageant: A Literary Sourcebook on London Street-Life, 1700-1914 Dickens wrote so insistently about London – its streets, its people, its unknown areas – that certain parts of the city are forever haunted by him. Going Astray: Dickens and London looks at the novelist’s delight in losing the self in the labyrinthine city and maps that interest, onto the compulsion to ‘go astray’ in writing. Drawing on all Dickens’ published writings (including the journalism but concentrating on the novels), Jeremy Tambling considers the author’s kaleidoscopic characterisations of London: as prison and as legal centre; as the heart of empire and of traumatic memory; as the place of the uncanny; as an old curiosity shop. His study examines the relations between narrative and the city, and explores how the metropolis encapsulates the problems of modernity for Dickens – as well as suggesting the limits of representation. Combining contemporary literary and cultural theory with historical maps, photographs and contextual detail, Jeremy Tambling’s book is an indispensable guide to Dickens, nineteenth- century literature, and the city itself.
This book presents an interesting approach to Dante's Divine Comedy, drawing on medieval theories of reading and understanding a text, and comparing them with modern critical theories of hermeneutics and approaches to the text associated with the work of Derrida. Dr Tambling rejects any attempt to identify a fundamental unity of thought in the poem and stresses the importance of opposition and divergence. This leads him to react against reductively 'allegorical' readings, and to ask in what way Christianity can be said to be articulated within the work. This important interpretation will be of value to all students and scholars of Dante, as well as to those whose work lies in the fields of general medieval literature, comparative literature and critical theory.
Written using critical theory, especially by Walter Benjamin, Blanchot and Derrida, Allegory and the Work of Melancholy: The Late Medieval and Shakespeare reads medieval and early modern texts, exploring allegory within texts, allegorical readings of texts, and melancholy in texts. Authors studied are Langland and Chaucer, Hoccleve, on his madness, Lydgate and Henryson. Shakespeare's first tetralogy, the three parts of Henry VI and Richard III conclude this investigation of death, mourning, madness and of complaint. Benjamin's writings on allegory inspire this linking, which also considers Dürer, Baldung and Holbein and the dance of the dead motifs. The study sees subjectivity created as obsessional, paranoid, and links melancholia, madness and allegorical creation, where parts of the subject are split off from each other, and speak as wholes. Allegory and melancholy are two modes – a state of writing and a state of being - where the subject fragments or disappears. These texts are aware of the power of death within writing, which makes them, fascinating. The book will appeal to readers of literature from the medieval to the Baroque, and to those interested in critical theory, and histories of visual culture.
Dante's work has fascinated readers for seven hundred years and has provided key reference points for writing as diverse as that of Chaucer, the Renaissance poets, the English Romantics, Tennyson and the Pre-Raphaelites, American writers from Melville through to Eliot and Pound, Anglo-Irish Modernists from Joyce to Beckett, and contemporary poets such as Heaney and Walcott. In this volume, Jeremy Tambling has selected ten recent essays from the mass of Dante studies, and put the Divine Comedy - Dante's record of a journey to Hell, Purgatory and Paradise - into context for the modern reader. Topics such as Dante's allegory, his relationship to classical and modern poetry, his treatment of love and of sexuality, his attitudes to Florence and to his contemporary Italy, are explored and clarified through a selection of work by some of the best scholars in the field. An introduction and notes help the reader to situate the criticism, and to relate it to contemporary literary theory. In this anthology, Dante's relevance to both English and Italian literature is highlighted, and the significance of Dante for poetry in English is illuminated for the modern reader. This book provides students of English literature and Italian literature with the most comprehensive collection of important critical studies of Dante to date.
The author explores why it matters that texts exist in the form of stories, and how they rest upon cultural and social assumptions (how narratives are always ideological).
This volume shows how highly conscious Dickens was of words – of their meaning of course, and of the ideas they conjured up, but also of their very substance, texture, plasticity, visuality, and resonance, as well as their interactions with other words, and with their cultural environment. Each keyword is treated not as a semantic unit with a fixed meaning but rather as a flexible linguistic construct. Some keywords are just a word, a characteristic or even idiosyncratic lexical unit; some are treated as a load-bearing conceptual category or theme; some disintegrate into noise, complicating readers' assumptions about what a keyword must be. The focus shifts from "word" at micro- to macro-levels of signification, at times denoting wider cultural usage. Dynamic relations, oppositions, correlations and overlappings result from these individualized reading journeys, creating unforeseen and rich systems of meaning.
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