Pseudo-Memoirs redefines the notion of fiction itself, a form that has all too often been understood in terms of its capacity to produce a seeming reality. Rochelle Tobias argues that the verisimilitude of the novel derives not from its object but from the subjectivity at its base. What generates the plausibility of fiction is not the referentiality of its depictions but the intentionality of consciousness. Edmund Husserl developed the idea that consciousness is always intentional in the sense that it is directed outside itself toward something that it does not find so much as it constitutes as an object. Pseudo-memoirs reveal the full implications of this position in their double structure as the tale of their own telling or the fiction of life-writing. In so doing they reveal how the world of fiction is constructed, but more important they bring to the fore the idealist premises that fuel the novel and guarantee its truth, even when it remains an invention of the imagination. Rochelle Tobias explores novels by Thomas Mann, Robert Walser, Thomas Bernhard, and W. G. Sebald in conjunction with philosophical and theoretical texts by René Descartes, Husserl, Friedrich Nietzsche, György Łukács, Roland Barthes, and Maurice Blanchot.
Paul Celan has long been regarded as the most important European poet after 1945 but also the most difficult owing to the numerous references in his work to his personal history and to a cultural heritage spanning many disciplines, centuries, and languages. In this insightful study, Rochelle Tobias goes a long way to dispelling the obscurity that has surrounded the poet and his work. She shows that the enigmatic images in his poetry have a common source. They are drawn from the disciplines of geology, astrology, and physiology or what could be called the sciences of the earth, the heavens, and the human being. Celan’s poetry borrows from each of these disciplines to create a poetic universe—a universe that attests to what is no longer and projects what is not yet. This is the unnatural world of Celan's poetry. It is a world in which time itself takes physical form or is made plastic. Through a series of close readings and philosophical explorations, Tobias reflects on the experience of time encoded and embodied in Celan's work. She demonstrates that the physical world in his poetry ultimately serves as a showcase for time, which is the most elusive aspect of human experience because it is based nowhere but in the mind. Tobias's probing interpretations present a new model for understanding Celan's work from the early elegiac poems to the later cryptic texts. An interdisciplinary project, the study combines readings of Celan's poetry with discussions of ancient and modern science, mystical cosmology, and twentieth-century literature and thought. Tobias's original approach to Celan illuminates his complex verse and contributes significantly to the theory of metaphor as it applies to modern verse.
Pseudo-Memoirs redefines the notion of fiction itself, a form that has all too often been understood in terms of its capacity to produce a seeming reality. Rochelle Tobias argues that the verisimilitude of the novel derives not from its object but from the subjectivity at its base. What generates the plausibility of fiction is not the referentiality of its depictions but the intentionality of consciousness. Edmund Husserl developed the idea that consciousness is always intentional in the sense that it is directed outside itself toward something that it does not find so much as it constitutes as an object. Pseudo-memoirs reveal the full implications of this position in their double structure as the tale of their own telling or the fiction of life-writing. In so doing they reveal how the world of fiction is constructed, but more important they bring to the fore the idealist premises that fuel the novel and guarantee its truth, even when it remains an invention of the imagination. Rochelle Tobias explores novels by Thomas Mann, Robert Walser, Thomas Bernhard, and W. G. Sebald in conjunction with philosophical and theoretical texts by René Descartes, Husserl, Friedrich Nietzsche, György Łukács, Roland Barthes, and Maurice Blanchot.
This book brings together in one, compact volume all aspects of the available information about the iron oxides. It presents a coherent, up to date account of the properties, reactions and mechanisms of formation of these compounds. In addition, there are chapters dealing with iron oxides in rocks and soils, as biominerals and as corrosion products together with methods of synthesis and the numerous application of these compounds. Their role in the environment is also discussed. The authors are experts in the field of iron oxides and have worked on all the topics covered. Much recent data from the authors' own laboratories is included and opportunities for further research are indicated. Special features are the electron micrographs and colour plates together with the many different spectra used to illustrate properties and aspects of behaviour. Numerous tables and graphs enable trends and relationships to be seen at a glance. The book concludes with an extensive bibliography. This book should prove invaluable to industry and to all researchers who, whatever their background and level of experience, are interested in this rapidly expanding field. It is an essential volume for any scientific library and is now in its second, completely revised and extended edition!
Explores the role of private art collections in the cultural, social, and political life of early eighteenth-century Paris. Examines how two principal groups of collectors, each associated with a different political faction, amassed different types of treasures and used them to establish social identities and compete for distinction"--Provided by publisher.
When a repressive government violates the rights of its citizens, the international community can respond by exerting moral pressure on that government from the outside: shining the global spotlight, condemning abuses, and urging reform. Shaming is ubiquitous in world politics, wielded by state and non-state actors alike. However, recent events have sparked new interest in resistance and backlash to international human rights norms. Scholars now recognize the potential for shaming to backfire. Yet, a robust theoretical account for such phenomena-the "dark side" of human rights shaming-remains lacking. This book provides such an account, investigating two closely related questions. First, why and how do states shame each other for human rights violations? Second, when does shaming lead to an improvement in human rights conditions, and when does it backfire? Terman argues that whether shaming works depends on the relationship between the country shaming and the country being shamed. Criticism exchanged between friends and allies is more effective, she shows, because it entails greater leverage and credibility. Shaming from rivals and adversaries, in contrast, is more likely to backfire. Terman provides evidence for her theory using cross-national data, original survey experiments, and detailed case studies. Together, her findings cast doubt on the power of international pressure to promote human rights while upending the received wisdom on the role of norms in world affairs. By identifying the conditions under which shaming is effective, the book offers practical guidance for governments, international organizations, and civil society actors wanting to promote human rights abroad"--
Examining the surrealist novels of several contemporary writers including Edwidge Danticat, Tananarive Due, Nalo Hopkinson, Junot Díaz, Helen Oyeyemi, and Colson Whitehead, AfroSurrealism, the first book-length exploration of AfroSurreal fiction, argues that we have entered a new and exciting era of the black novel, one that is more invested than ever before in the cross sections of science, technology, history, folklore, and myth. Building on traditional surrealist scholarship and black studies criticism, the author contends that as technology has become ubiquitous, the ways in which writers write has changed; writers are producing more surrealist texts to represent the psychological challenges that have arisen during an era of rapid social and technological transitions. For black writers, this has meant not only a return to Surrealism, but also a complete restructuring in the way that both past and present are conceived, as technology, rather than being a means for demeaning and brutalizing a black labor force, has become an empowering means of sharing information. Presenting analyses of contemporary AfroSurreal fiction, this volume examines the ways in which contemporary writers grapple with the psychology underlying this futuristic technology, presenting a cautiously optimistic view of the future, together with a hope for better understanding of the past. As such, it will appeal to scholars of cultural, media and literary studies with interests in the contemporary novel, Surrealism, and black fiction.
What or who are you running from or to?Stamford King was running from his past. He wanted to get as far as he could from North Carolina because the only thing there for him was bad memories of Christmas past. At first all he wanted to do was get through the joyous holiday season and let the New Year start, but a chance meeting in an elevator at Director Enterprises stopped that thought cold.Syeshia Jones never expected to meet a drop dead gorgeous hunk the day she yelled. "Hold the elevator," but that is what happened. She couldn't get over her instant attraction to Stamford King. Everything was going perfect between them until a week before Christmas.Will they be able to patch things up or will both of them be spending Christmas morning alone?
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.