The Station Hill Blanchot Reader is the only collection in English of Maurice Blanchot's mature fiction - the unique genre he called recits (tellings, narratives) - as well as a selection of literary/philosophical writings drawn from five of his major works. It brings together seven of Blanchot's eight Station Hill books published over the past twenty years: Vicious Circles, Thomas the Obscure, Death Sentence, The Madness of the Day, When The Time Comes, The One Who Was Standing Apart From Me, and ten of the eleven essays from The Gaze of Orpheus and Other Literary Essays.
The fourth volume of Blanchot's war-time chronicles reflects a commitment to silence and a detachment from circumstance, as Germany's occupation of France reaches its end. Convinced that disaster is now insuperable, Blanchot neutralizes the nihilism of that position through making it the basis of a new language of human relation.
Maurice Blanchot, the eminent literary and cultural critic, has had a vast influence on contemporary French writers--among them Jean Paul Sartre and Jacques Derrida. From the 1930s through the present day, his writings have been shaping the international literary consciousness. The Space of Literature, first published in France in 1955, is central to the development of Blanchot's thought. In it he reflects on literature and the unique demand it makes upon our attention. Thus he explores the process of reading as well as the nature of artistic creativity, all the while considering the relation of the literary work to time, to history, and to death. This book consists not so much in the application of a critical method or the demonstration of a theory of literature as in a patiently deliberate meditation upon the literary experience, informed most notably by studies of Mallarmé, Kafka, Rilke, and Hölderlin. Blanchot's discussions of those writers are among the finest in any language.
Published in France in 1943, Faux Pas is the first collection of essays on literature and language by Maurice Blanchot, the most lucid and powerful French critic of the second half of the 20th century.
In certain key respects, 1943 marked a turning point in the war. Increasingly, victory seemed assured. However, the backdrop to this gradually improving situation was one of widespread and unremitting destruction. In the essays from that year, Blanchot writes from a position of almost total detachment from day-to-day events, now that all of his projects and involvements have come to naught. As he explores and promotes works of literature and ideas, he privileges those with the capacity to sustain a human perspective that does not merely contemplate ruin and disaster but sees them as the occasion for a radical revision of what "human" is capable of signifying. Consigning all that the name "France" has hitherto meant to him to a past that is now in ruins, Blanchot begins to sketch out a counter-history that is international in nature, and whose human field is literature.
This volume, a powerful short prose piece by Blanchot with an extended essay by Derrida, records a remarkable encounter in critical and philosophical thinking.
In this landmark volume, Blanchot sustains a dialogue with a number of thinkers whose contributions have marked turning points in the history of Western thought and have influenced virtually all the themes that inflect the contemporary literary and philosophical debate today. "Blanchot waits for us still to come, to be read and reread. . . I would say that never as much as today have I pictured him so far ahead of us." Jacques Derrida
Maurice Blanchot is arguably the key figure after Sartre in exploring the relation between literature and philosophy. Blanchot developed a distinctive, limpid form of essay writing; these essays, in form and substance, left their imprint on the work of the most influential French theorists. The writings of Barthes, Foucault, and Derrida are unimaginable without Blanchot. Published in French in 1949, The Work of Fire is a collection of twenty-two essays originally published in literary journals. Certain themes recur repeatedly: the relation of literature and language to death; the significance of repetition; the historical, personal, and social function of literature; and simply the question what is at stake in the fact that something such as art or literature exists? Among the authors discussed are Kafka, Mallarme;, Hölderlin, Baudelaire, Rimbaud, Sartre, Gide, Pascal, Vale;ry, Hemingway, and Henry Miller.
Featuring essays originally published in La Nouvelle Revue Française, this collection clearly demonstrates why Maurice Blanchot was a key figure in exploring the relation between literature and philosophy.
Modern history is haunted by the disasters of the century--world wars, concentration camps, Hiroshima, and the Holocaust--grief, anger, terror, and loss beyond words, but still close, still impending. How can we write or think about disaster when by its very nature it defies speech and compels silence, burns books and shatters meaning? The Writing of the Disaster reflects upon efforts to abide in disaster's infinite threat. First published in French in 1980, it takes up the most serious tasks of writing: to describe, explain, and redeem when possible, and to admit what is not possible. Neither offers consolation. Maurice Blanchot has been praised on both sides of the Atlantic for his fiction and criticism. The philosopher Emmanuel Levinas once remarked that Blanchot's writing is a "language of pure transcendence, without correlative." Literary theorist and critic Geoffrey Hartman remarked that Blanchot's influence on contemporary writers "cannot be overestimated.
Maurice Blanchot is a towering yet enigmatic figure in 20th-century French thought. Both his fiction and his criticism played a determining role in how postwar French philosophy was written. This volume collects his political writings from 1953 and 1993.
These early parables of Maurice Blanchot provide a rewarding introduction to a modern master; they also illuminate with hallucinatory intensity certain consequences of the hopeless and irresistible human longing to communicate through language. The world is still haunted by the ghosts of unspoken and unspeakable words emanating from the deaths here recounted almost fifty years ago.
In this landmark volume, Blanchot sustains a dialogue with a number of thinkers whose contributions have marked turning points in the history of Western thought and have influenced virtually all the themes that inflect the contemporary literary and philosophical debate today. "Blanchot waits for us still to come, to be read and reread. . . I would say that never as much as today have I pictured him so far ahead of us." Jacques Derrida
For the past half century, Maurice Blanchot has been an extraordinarily influential figure on the French literary and cultural scene. He is arguably the key figure after Sartre in exploring the relation between literature and philosophy. This collection of 29 critical essays and reviews on art, politics, literature, and philosophy documents the wide range of Blanchot's interests, from the enigmatic paintings in the Lascaux caves to the atomic era. Essays are devoted to works of fiction (Louis-René des Forêts, Pierre Klossowski, Roger Laporte, Marguerite Duras), to autobiographies or testimonies (Michel Leiris, Robert Antelme, André Gorz, Franz Kafka), or to authors who are more than ever contemporary (Jean Paulhan, Albert Camus). Several essays focus on questions of Judaism, as expressed in the works of Edmond Jabès, Emmanuel Levinas, and Martin Buber. Among the other topics covered are André Malraux's "imaginary museum," the Pléiade Encyclopedia project of Raymond Queneau, paperback publishing, the work of Claude Lévi-Strauss, Benjamin's "Task of the Translator," Marx and communism, writings on the Holocaust, and the difference between art and writing. The book concludes with an eloquent invocation to friendship on the occasion of the death of Georges Bataille.
This volume, a powerful short prose piece by Blanchot with an extended essay by Derrida, records a remarkable encounter in critical and philosophical thinking.
Maurice Blanchot is arguably the key figure after Sartre in exploring the relation between literature and philosophy. Blanchot developed a distinctive, limpid form of essay writing; these essays, in form and substance, left their imprint on the work of the most influential French theorists. The writings of Barthes, Foucault, and Derrida are unimaginable without Blanchot. Published in French in 1949, The Work of Fire is a collection of twenty-two essays originally published in literary journals. Certain themes recur repeatedly: the relation of literature and language to death; the significance of repetition; the historical, personal, and social function of literature; and simply the question what is at stake in the fact that something such as art or literature exists? Among the authors discussed are Kafka, Mallarme;, Hölderlin, Baudelaire, Rimbaud, Sartre, Gide, Pascal, Vale;ry, Hemingway, and Henry Miller.
This book is a translation of Maurice Blanchot's work that is of major importance to late 20th-century literature and philosophy studies. Using the fragmentary form, Blanchot challenges the boundaries between the literary and the philosophical. With the obsessive rigor that has always marked his writing, Blanchot returns to the themes that have haunted his work since the beginning: writing, death, transgression, the neuter, but here the figures around whom his discussion turns are Hegel and Nietzsche rather than Mallarme and Kafka. The metaphor Blanchot uses for writing in The Step Not Beyond is the game of chance. Fragmentary writing is a play of limits, a play of ever-multiplied terms in which no one term ever takes precedence. Through the randomness of the fragmentary, Blanchot explores ideas as varied as the relation of writing to luck and to the law, the displacement of the self in writing, the temporality of the Eternal Return, the responsibility of the self towards the others.
Maurice Blanchot is a towering yet enigmatic figure in 20th-century French thought. Both his fiction and his criticism played a determining role in how postwar French philosophy was written. This volume collects his political writings from 1953 and 1993.
Modern history is haunted by the disasters of the century--world wars, concentration camps, Hiroshima, and the Holocaust--grief, anger, terror, and loss beyond words, but still close, still impending. How can we write or think about disaster when by its very nature it defies speech and compels silence, burns books and shatters meaning? The Writing of the Disaster reflects upon efforts to abide in disaster's infinite threat. First published in French in 1980, it takes up the most serious tasks of writing: to describe, explain, and redeem when possible, and to admit what is not possible. Neither offers consolation. Maurice Blanchot has been praised on both sides of the Atlantic for his fiction and criticism. The philosopher Emmanuel Levinas once remarked that Blanchot's writing is a "language of pure transcendence, without correlative." Literary theorist and critic Geoffrey Hartman remarked that Blanchot's influence on contemporary writers "cannot be overestimated.
Blanchot describes a world where the Absolute has finally overcome all other rivals to its authority. The State is unified, universal, and homogenous, promising perfect satisfaction. Why then does it find revolt everywhere? Could it be the omnipresent police? The plagues? The proliferating prisons and black markets? Written in part as a description of post-World War II Europe, Blanchot's dystopia charts with terrible clarity the endless death of god in an era of constantly metamorphosing but strangely definitive ideologies."-Translation Review Maurice Blanchot has been for a half century one of France's leading authors of fiction and theory. Two of his most ambitious works, The Space of Literature and The Writing of the Disaster, are also available in Bison Books editions. Allan Stoekl is the author of On Bataille and Agonies of the Intellectual: Commitment, Subjectivity, and the Performative in the Twentieth-Century French Tradition (Nebraska 1992).
Maurice Blanchot, the eminent literary and cultural critic, has had a vast influence on contemporary French writers--among them Jean Paul Sartre and Jacques Derrida. From the 1930s through the present day, his writings have been shaping the international literary consciousness. The Space of Literature, first published in France in 1955, is central to the development of Blanchot's thought. In it he reflects on literature and the unique demand it makes upon our attention. Thus he explores the process of reading as well as the nature of artistic creativity, all the while considering the relation of the literary work to time, to history, and to death. This book consists not so much in the application of a critical method or the demonstration of a theory of literature as in a patiently deliberate meditation upon the literary experience, informed most notably by studies of Mallarmé, Kafka, Rilke, and Hölderlin. Blanchot's discussions of those writers are among the finest in any language.
For the past half century, Maurice Blanchot has been an extraordinarily influential figure on the French literary and cultural scene. He is arguably the key figure after Sartre in exploring the relation between literature and philosophy. This collection of 29 critical essays and reviews on art, politics, literature, and philosophy documents the wide range of Blanchot's interests, from the enigmatic paintings in the Lascaux caves to the atomic era. Essays are devoted to works of fiction (Louis-René des Forêts, Pierre Klossowski, Roger Laporte, Marguerite Duras), to autobiographies or testimonies (Michel Leiris, Robert Antelme, André Gorz, Franz Kafka), or to authors who are more than ever contemporary (Jean Paulhan, Albert Camus). Several essays focus on questions of Judaism, as expressed in the works of Edmond Jabès, Emmanuel Levinas, and Martin Buber. Among the other topics covered are André Malraux's "imaginary museum," the Pléiade Encyclopedia project of Raymond Queneau, paperback publishing, the work of Claude Lévi-Strauss, Benjamin's "Task of the Translator," Marx and communism, writings on the Holocaust, and the difference between art and writing. The book concludes with an eloquent invocation to friendship on the occasion of the death of Georges Bataille.
Another of Blanchot's almost-fictions . . . throwing into deliciously baffling high relief the enigmatic condition of a man and woman alone in a sparsely furnished hotel room who try to remember what has happened to bring them there as they apprehensively await whatever will happen next. Their reserved confusion and quiet desperation eventually impress upon them (and us) the realization that imagination (or, if you will, writing) can create reality -- and offer the paradoxical solace that seems to rest at the heart of Blanchot's writing: the sense that even language that expresses meaninglessness can't help but contain and, therefore, convey meaning." -- Kirkus. "This absolutely first-rate translation will not only make Blanchot accessible to many new readers but will also encourage Blanchot scholars and students to reconsider everything they thought they knew about L'Attente l'oubli. . . . This book should be required reading, period." -- Choice. "Awaiting Oblivion is one of [Blanchot's] crowning works . . . a penetrating reflection upon human nature, language, and literature.""--Translation Review. ""Blanchot is a terrifying writer.""--Review of Contemporary Fiction. Maurice Blanchot has been for a half century one of France's leading authors of fiction and theory. Two of his most ambitious nonfiction works, The Space of Literature and The Writing of the Disaster, are also available from the University of Nebraska Press, as is The Most High, his third novel. John Gregg is the author of Maurice Blanchot and the Literature of Transgression.
Featuring essays originally published in La Nouvelle Revue Française, this collection clearly demonstrates why Maurice Blanchot was a key figure in exploring the relation between literature and philosophy.
Merleau-Ponty was one of the few philosophers of today who never lost contact with 'brute reality'; and it may be that Signs will be read with regret in bringing to mind his untimely death, yet with gratitude for the human ity and depth of philosophical insight into the world of lived reality which it offers."--Journal of Individual Psychology.
Published in France in 1943, Faux Pas is the first collection of essays on literature and language by Maurice Blanchot, the most lucid and powerful French critic of the second half of the 20th century.
In the early 1980s Donald Barthelme was widely recognized in the United States as one of the major figures in contemporary postmodernism, a key and central experimental writer. In this study, originally published in 1982, two leading critics present Donald Barthelme’s work in its most radical and innovative aspects. Their essay combines textual analysis, critical theory and cultural awareness and aims at investigating the impact of Barthelme’s fictions on the reader and at defining the type of reading experience and pleasure such fictions can produce. Included in the aspects of Donald Barthelme’s work discussed here are his use of language, his sense of comedy, his parody, his vision of the modern self as fragmented and displaced, and his relation to psychoanalysis and other forms of art.
Writing about The Gaze of Orpheus, Geoffrey Hartman suggested that When we come to write the history of criticism for the 1940 to 1980 period, it will be found that Blanchot, together with Sartre, made French 'discourse' possible, both in its relentlessness and its acuity..This selection.is exemplary for its clearly translated and well-chosen excerpts from Blanchot's many influential books. Reading him now, and in this form, I feel once more the excitement of discovering Blanchot in the 1950s.
The Possibility of Philosophy presents the notes that Maurice Merleau‐Ponty prepared for three courses he taught at the Collège de France: “The Possibility of Philosophy Today,” given in the spring semester of 1959, and “Cartesian Ontology and Ontology Today” and “Philosophy and Nonphilosophy since Hegel,” both given in the spring semester of 1961. The last two courses remain incomplete due to Merleau-Ponty’s unexpected death on May 3, 1961. Nonetheless, they provide indications of the new ontology that informed The Visible and the Invisible, a posthumously published work that was under way at the same time. These courses offer readers of Merleau‐Ponty’s late thought a wealth of references—to painting, literature, and psychoanalysis, and to the works of Husserl, Heidegger, Descartes, Hegel, and Marx—that fill in some of the missing pieces of The Visible and the Invisible, especially its often terse and sometimes cryptic working notes. We see more clearly how Merleau-Ponty’s attempt to bring forth a new ontology indicates a fundamental revision in what it means to think, an attempt to reimagine the possibility of philosophy.
In simple prose Merleau-Ponty touches on his principle themes. He speaks about the body and the world, the coexistence of space and things, the unfortunate optimism of science – and also the insidious stickiness of honey, and the mystery of anger.' - James Elkins Maurice Merleau-Ponty was one of the most important thinkers of the post-war era. Central to his thought was the idea that human understanding comes from our bodily experience of the world that we perceive: a deceptively simple argument, perhaps, but one that he felt had to be made in the wake of attacks from contemporary science and the philosophy of Descartes on the reliability of human perception. From this starting point, Merleau-Ponty presented these seven lectures on The World of Perception to French radio listeners in 1948. Available in a paperback English translation for the first time in the Routledge Classics series to mark the centenary of Merleau-Ponty’s birth, this is a dazzling and accessible guide to a whole universe of experience, from the pursuit of scientific knowledge, through the psychic life of animals to the glories of the art of Paul Cézanne.
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.