Because emotion is assumed to depend on subjectivity, the "death of the subject" described in recent years by theorists such as Derrida, de Man, and Deleuze would also seem to mean the death of feeling. This revolutionary work transforms the burgeoning interdisciplinary debate on emotion by suggesting, instead, a positive relation between the "death of the subject" and the very existence of emotion.
Reading the writings of Derrida and de Man--theorists often seen as emotionally contradictory and cold--Terada finds grounds for construing emotion as nonsubjective. This project offers fresh interpretations of deconstruction's most important texts, and of Continental and Anglo-American philosophers from Descartes to Deleuze and Dennett. At the same time, it revitalizes poststructuralist theory by deploying its methodologies in a new field, the philosophy of emotion, to reach a startling conclusion: if we really were subjects, we would have no emotions at all.
Engaging debates in philosophy, literary criticism, psychology, and cognitive science from a poststructuralist and deconstructive perspective, Terada's work is essential for the renewal of critical thought in our day.
Eng develops the concept of “queer diasporas” as a critical response to queer liberalism. A methodology drawing attention to new forms of family and kinship, accounts of subjects and subjectivities, and relations of affect and desire, the concept differs from the traditional notions of diaspora, theories of the nation-state, and principles of neoliberal capitalism upon which queer liberalism thrives. Eng analyzes films, documentaries, and literature by Asian and Asian American artists including Wong Kar-wai, Monique Truong, Deann Borshay Liem, and Rea Tajiri, as well as a psychoanalytic case history of a transnational adoptee from Korea. In so doing, he demonstrates how queer Asian migrant labor, transnational adoption from Asia, and the political and psychic legacies of Japanese internment underwrite narratives of racial forgetting and queer freedom in the present. A focus on queer diasporas also highlights the need for a poststructuralist account of family and kinship, one offering psychic alternatives to Oedipal paradigms. The Feeling of Kinship makes a major contribution to American studies, Asian American studies, diaspora studies, psychoanalysis, and queer theory.
Pairing literary criticism and historical analysis, Berlant explores the territory of this intimate public sphere through close readings of U.S. women’s literary works and their stage and film adaptations. Her interpretation of Uncle Tom’s Cabin and its literary descendants reaches from Harriet Beecher Stowe to Toni Morrison’s Beloved, touching on Shirley Temple, James Baldwin, and The Bridges of Madison County along the way. Berlant illuminates different permutations of the women’s intimate public through her readings of Edna Ferber’s Show Boat; Fannie Hurst’s Imitation of Life; Olive Higgins Prouty’s feminist melodrama Now, Voyager; Dorothy Parker’s poetry, prose, and Academy Award–winning screenplay for A Star Is Born; the Fay Weldon novel and Roseanne Barr film The Life and Loves of a She-Devil; and the queer, avant-garde film Showboat 1988–The Remake. The Female Complaint is a major contribution from a leading Americanist.
Approaching the study of literature as a unique form of the philosophy of language and mind—as a study of how we produce nonsense and imagine it as sense—this is a book about our human ways of making and losing meaning. Brett Bourbon asserts that our complex and variable relation with language defines a domain of meaning and being that is misconstrued and missed in philosophy, in literary studies, and in our ordinary understanding of what we are and how things make sense. Accordingly, his book seeks to demonstrate how the study of literature gives us the means to understand this relationship.
The book itself is framed by the literary and philosophical challenges presented by Joyce’s Finnegans Wake and Wittgenstein’s Philosophical Investigations. With reference to these books and the problems of interpretation and meaning that they pose, Bourbon makes a case for the fundamental philosophical character of the study of literature, and for its dependence on theories of meaning disguised as theories of mind. Within this context, he provides original accounts of what sentences, fictions, non-fictions, and poems are; produces a new account of the logical form of fiction and of the limits of interpretation that follow from it; and delineates a new and fruitful domain of inquiry in which literature, philosophy, and science intersect.
An innovative study of how a prescient poet imagined ecology and embodiment
Larry Eigner (1927–1996) wrote thousands of poems in his lifetime, despite profound physical limitations caused by cerebral palsy. Using only the thumb and index finger of his right hand, Eigner generated a torrent of urgent and rich language, participating in vital correspondences as well as publishing widely in literary magazines and poetry journals.
While Eigner wrote before the emergence of ecopoetics, his poetry reflected a serious engagement with scientific writing and media, including Rachel Carson’s seminal Silent Spring. Eigner was writing about environmental disasters and climate change long before such concerns took on a moral incumbency. Similarly, Eigner was ahead of his time in his exploration of disability. The field of disability studies has expanded rapidly in the new millennium. Eigner was not an overtly biographical poet, at least as far as his physical limitations were concerned, but his poetry spoke volumes on the idea of embodiment in all its forms.
Finding the Weight of Things: Larry Eigner’s Ecrippoetics is the first full-length study of Eigner’s poetry, covering his entire career from the beginning of his mature work in the 1950s to his last poems of the 1990s. George Hart charts where Eigner’s two central interests intersect, and how their interaction fueled his work as a poet-critic—one whose work has much to tell us about the ecology and embodiment of our futures. Hart sees Eigner’s overlapping concerns for disability, ecology, and poetic form as inextricable, and coins the phrase ecrippoetics here to describe Eigner’s prescient vision.
In an “other world” composed of language—it could be a fathomless Martian well, a labyrinthine hotel or forest—a narrative unfolds, and with it the experiences, memories, and dreams that constitute reality for Haruki Murakami’s characters and readers alike. Memories and dreams in turn conjure their magical counterparts—people without names or pasts, fantastic animals, half-animals, and talking machines that traverse the dark psychic underworld of this writer’s extraordinary fiction.
Fervently acclaimed worldwide, Murakami’s wildly imaginative work in many ways remains a mystery, its worlds within worlds uncharted territory. Finally in this book readers will find a map to the strange realm that grounds virtually every aspect of Murakami’s writing. A journey through the enigmatic and baffling innermost mind, a metaphysical dimension where Murakami’s most bizarre scenes and characters lurk, The Forbidden Worlds of Haruki Murakami exposes the psychological and mythological underpinnings of this other world. Matthew Carl Strecher shows how these considerations color Murakami’s depictions of the individual and collective soul, which constantly shift between the tangible and intangible but in this literary landscape are undeniably real.
Through these otherworldly depths The Forbidden Worlds of Haruki Murakami also charts the writer’s vivid “inner world,” whether unconscious or underworld (what some Japanese critics call achiragawa, or “over there”), and its connectivity to language. Strecher covers all of Murakami’s work—including his efforts as a literary journalist—and concludes with the first full-length close reading of the writer’s newest novel, Colorless Tsukuru Tazaki and His Years of Pilgrimage.
Offering a bold corrective to the emphasis on embodiment and experience in recent affect theory, Eugenie Brinkema develops a novel mode of criticism that locates the forms of particular affects within the specific details of cinematic and textual construction. Through close readings of works by Roland Barthes, Hollis Frampton, Sigmund Freud, Peter Greenaway, Michael Haneke, Alfred Hitchcock, Søren Kierkegaard, and David Lynch, Brinkema shows that deep attention to form, structure, and aesthetics enables a fundamental rethinking of the study of sensation. In the process, she delves into concepts as diverse as putrescence in French gastronomy, the role of the tear in philosophies of emotion, Nietzschean joy as a wild aesthetic of repetition, and the psychoanalytic theory of embarrassment. Above all, this provocative work is a call to harness the vitality of the affective turn for a renewed exploration of the possibilities of cinematic form.
Surin begins by examining the current regime of accumulation—the global domination of financial markets over traditional industrial economies—which is used as an instrument for the subordination and dependency of poorer nations. He then moves to the constitution of subjectivity, or the way humans are produced as social beings, which he casts as the key arena in which struggles against dispossession occur. Surin critically engages with the major philosophical positions that have been posed as models of liberation, including Derrida’s notion of reciprocity between a subject and its other, a reinvigorated militancy in political reorientation based on the thinking of Badiou and Zizek, the nomad politics of Deleuze and Guattari, and the politics of the multitude suggested by Hardt and Negri. Finally, Surin specifies the material conditions needed for liberation from the economic, political, and social failures of our current system. Seeking to illuminate a route to a better life for the world’s poorer populations, Surin investigates the philosophical possibilities for a marxist or neo-marxist concept of liberation from capitalist exploitation and the regimes of power that support it.
The way we create and organize knowledge is the theme of From the Tree to the Labyrinth, a major achievement by one of the world’s foremost thinkers on language and interpretation. Umberto Eco begins by arguing that our familiar system of classification by genus and species derives from the Neo-Platonist idea of a “tree of knowledge.” He then moves to the idea of the dictionary, which—like a tree whose trunk anchors a great hierarchy of branching categories—orders knowledge into a matrix of definitions. In Eco’s view, though, the dictionary is too rigid: it turns knowledge into a closed system. A more flexible organizational scheme is the encyclopedia, which—instead of resembling a tree with finite branches—offers a labyrinth of never-ending pathways. Presenting knowledge as a network of interlinked relationships, the encyclopedia sacrifices humankind’s dream of possessing absolute knowledge, but in compensation we gain the freedom to pursue an infinity of new connections and meanings.
Moving effortlessly from analyses of Aristotle and James Joyce to the philosophical difficulties of telling dogs from cats, Eco demonstrates time and again his inimitable ability to bridge ancient, medieval, and modern modes of thought. From the Tree to the Labyrinth is a brilliant illustration of Eco’s longstanding argument that problems of interpretation can be solved only in historical context.
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