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Tracing the influence of Sappho's fragmented literary legacy on three 20th-century women writers - H.D., Judy Grahn, and Monique Wittig - this book discusses Sapphic fiction as a genre that emerged throughout the 20th century. H.D., Grahn, and Wittig represent three movements that have shaped the approach to the sexual subject and her desires: modernism, cultural feminism, and poststructuralism respectively. H.D. responds to Sappho with an imagistic style that resembles Sappho's terse and clipped lines. Grahn recreates the idea of Lesbos as a model for a women-centered society. Wittig, writing from a poststructuralist background, alludes to Sappho in her fierce critique of myth and language. This study draws on recent debates about the history of sexuality, the body, and the construction of the self, and is meant as a contribution to the ongoing debate on how gender is constructed in modernist and postmodernist discourse.
This book offers a theory of Romantic song by re-evaluating Schumann's Dichterliebe of 1840, one of the most enigmatic works of the repertoire. It investigates the poetics of Early Romanticism in order to understand the mysterious magnetism and singular imaginative energy that imbues Schumann's musical language. The Romantics rejected the ideal of a coherent and organic whole and cherished the suggestive openness of the Romantic fragment, the disconcerting tone of Romantic irony and the endlessness of Romantic reflection - thereby realizing an aesthetic of fragmentation. Close readings of many songs from Dichterliebe show the singer's intense involvement with the piano's voice, suggesting a 'split Self' and the presence of the 'Other'. Seeing Schumann as the 'second poet of the poem' - here of Heine's famous Lyrisches Intermezzo - this book considers essential issues of musico-poetic intertextuality, introducing into musicology a hermeneutic that seeks to synthesize philosophical, literary-critical, music-analytical and psycho-analytical modes of thought.
This monograph is an interdisciplinary study of the concept of 'fragment' in literature and in critical and literary theory. It discusses the fragment's performativity and function within a historical perspective, stretching from Heraclitus, via the German Romantics and European writers of the Modernist period, to American postmodern manifestations of the fragment. This is the first history of the fragment to appear in English, and it is also the first attempt at producing a consistent taxonomy of literary and critical fragments. The fragments are categorised according to function, not author intention, and the study addresses a number of questions: What constitutes the fragment, when the fragment can only be defined a posteriori? Does the fragment begin on its own, or is it begun by others, writers and critics? Does it acquire a name of its own, or is it labelled by others? All these questions revolve around issues of agency, and they are best discussed in terms of performativity, which means seeing fragments as acts: acts of literature, acts of reading, acts of writing. The book demonstrates how a poetics of the fragment as a performative genre can be created, situating the fragment both as literature and as a phenomenon within postmodern criticism against the background of philosophy, art history, and theology.
"A departure at right angles to thinking in the modern Western world. An important, original work, that should get the widest possible hearing" (Iain McGilchrist, author of The Master and his Emissary) Middle Way Philosophy is not about compromise, but about the avoidance of dogma and the integration of conflicting assumptions. To rely on experience as our guide, we need to avoid the interpretation of experience through unnecessary dogmas. Drawing on a range of influences in Buddhist practice, Western philosophy and psychology, Middle Way Philosophy questions alike the assumptions of scientific naturalism, religious revelation and political absolutism, trying to separate what addresses experience in these doctrines from what is merely assumed. This Omnibus edition of Middle Way Philosophy includes all four of the volumes previously published separately: 1. The Path of Objectivity, 2. The Integration of Desire, 3. The Integration of Meaning, and 4. The Integration of Belief.
This anthology of philosophical essays explores the interpersonal and political contexts in and against which the films of ten major postwar filmmakers were made.
This book discusses what it means to “perform the State,” what this action means in relation to the country of Iran and how these various performances are represented. The concept of the “State” as a modern phenomenon has had a powerful impact on the formation of the individual and collective, as well as on determining how political entities are perceived in their interactions with one another in the current global arena.
First Published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.