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This is the first book-length study of how three important European thinkers-Kierkegaard, Kafka and Blanchot-use the Binding of Isaac to illuminate the sacrificial situation of the literary writer. Danta shows that literature plays a vital and heretical role in these three writers' highly idiosyncratic accounts of the Akedah. His claim is twofold: firstly, that all three authors choose to respond to the Genesis narrative by manifesting literature; and, secondly, that each heretically endows literature-or fiction-with the power to suspend the sacrifice. Abraham's near-sacrifice of Isaac is traditionally read as the story of faith in action. But what does it mean to play the game of not-quite-belief with the story of religious faith? By examining the literary and heretical treatments of Isaac's sacrifice in the work of Kierkegaard, Kafka and Blanchot, this book develops an original account of literature as a form of sacrificial thinking. For each, writing acts, like God's sacrificial demand of Abraham, to suspend the writer's usual relation to his daily and earthly responsibilities.
Helene Cixous is widely regarded as one of the world's most influential feminist writers and thinkers. "White Ink" brings together her most revealing interviews, available in English for the first time. Spanning over four decades and including a new interview with the editor Susan Sellers, this collection presents a brilliant, running commentary on the subjects at the heart of Cixous' writing.Here, Cixous discusses her books and her creative process, her views on and insights into literature, philosophy, theatre, politics, aesthetics, faith and ethics, human relations and the state of the world. As she responds to interviewers' questions, Cixous is prompted to reflect on her roles and activities as poet, playwright, feminist theorist, professor of literature, philosopher, woman, Jew. Each interview is a remarkable performance, an event in language and thought where Cixous' celebrated intellectual and poetic force can be witnessed 'in action'. The accessibility of the interview format provides an excellent starting-point for readers new to Cixous, while those already familiar with her work will find unexpected insights and fresh elucidations of her thought.
As Albert Camus once remarked: 'Of capital punishment, people write only [...] in a low voice.' Journalists and state officials alike use a carefully policed language when making any reference to the death penalty: when human beings are to be executed by the state, some key actors talk about what will be done in terms of legalities and procedures. Does fiction provide a counterbalance for that discretion, or simply echo it? What other perspectives can it bring into the foreground, and can literary language express a response to a supposedly necessary horror, or a terrible injustice, which other voices or media cannot? Considering a range of major works from across Western Europe and the United States, from the 18th century until the present day, Death Sentences investigates the contribution of poetics to our understanding, past and present, of capital punishment. The sophisticated literary representations found in Hugo, Dostoevsky, Wilde, Kafka, Mailer, King and others offer a privileged vantage point from which to illuminate and critique a unique institution which itself relies heavily on spectacle and representation to be operative and legitimized. Birte Christ is Assistant Professor of American Literature and Culture at Justus-Liebig-University Giessen. Ève Morisi is Associate Professor of French and Fellow of St Hugh's College at the University of Oxford.
While Kierkegaard is perhaps known best as a religious thinker and philosopher, there is an unmistakable literary element in his writings. He often explains complex concepts and ideas by using literary figures and motifs that he could assume his readers would have some familiarity with. This dimension of his thought has served to make his writings far more popular than those of other philosophers and theologians, but at the same time it has made their interpretation more complex. Kierkegaard readers are generally aware of his interest in figures such as Faust or the Wandering Jew, but they rarely have a full appreciation of the vast extent of his use of characters from different literary periods and traditions. The present volume is dedicated to the treatment of the variety of literary figures and motifs used by Kierkegaard. The volume is arranged alphabetically by name, with Tome I covering figures and motifs from Agamemnon to Guadalquivir.
The Routledge Companion to Death and Literature seeks to understand the ways in which literature has engaged deeply with the ever-evolving relationship humanity has with its ultimate demise. It is the most comprehensive collection in this growing field of study and includes essays by Brian McHale, Catherine Belling, Ronald Schleifer, Helen Swift, and Ira Nadel, as well as the work of a generation of younger scholars from around the globe, who bring valuable transnational insights. Encompassing a diverse range of mediums and genres – including biography and autobiography, documentary, drama, elegy, film, the novel and graphic novel, opera, picturebooks, poetry, television, and more – the contributors offer a dynamic mix of approaches that range from expansive perspectives on particular periods and genres to extended analyses of select case studies. Essays are included from every major Western period, including Classical, Middle Ages, Renaissance, and so on, right up to the contemporary. This collection provides a telling demonstration of the myriad ways that humanity has learned to live with the inevitability of death, where “live with” itself might mean any number of things: from consoling, to memorializing, to rationalizing, to fending off, to evading, and, perhaps most compellingly of all, to escaping. Engagingly written and drawing on examples from around the world, this volume is indispensable to both students and scholars working in the fields of medical humanities, thanatography (death studies), life writing, Victorian studies, modernist studies, narrative, contemporary fiction, popular culture, and more.
How does a writer discuss her creative process and her views on a writer’s role in society? How do her comments on writing relate to her works? The Hindi writer Krishna Sobti (1925-2019) is known primarily as a novelist. However, she also extensively wrote about her views on the creative process, the figure of the writer, historical writing, and the position of writers within the public sphere. This study is the first to examine in detail the relationship between Sobti’s views on poetics as exposed in her non-fictional texts and her own literary practice. The writer’s self-representation is analysed through her use of metaphors to explain her creative process. Sobti’s construction of the figure of the writer is then put in parallel with her idiosyncratic use of language as a representation of the heterogeneous voices of her characters and with her conception of literature as a space where time and memory can be "held." At the same time, by delving into Sobti’s position in the debate around "women’s writing" (especially through the creation of a male double, the failed writer Hashmat), and into her views on literature and politics, this book also reflects on the literary debates of the post-Independence Hindi literary sphere.
The Art of Personality is a diverse selection of talks and papers on psychoanalysis and literature given by the author over the past ten years. They elaborate on the goal expressed by Milton as 'becoming a true poem': that is, seeing parallels between the gradual construction of the personality and the construction of a work of art, following an internal evolution on the lines of Bion's description of an 'endoskeletonous personality'. The works discussed range from classic Greek drama to Dostoevsky, Kafka, and Patrick White. The author's thoughts on our interaction with literature stand alongside those of Adrian Stokes and Richard Wollheim on understanding paintings. She brings together a broad knowledge of ancient and modern writings with a deep understanding of the creatively imaginative mind, illuminated by post-Kleinian psychoanalysis. This book will be a source of pleasure and inspiration both to general lovers of literature and to psychoanalytic workers who value the poetic aspects of their patients and their own forms of expression.'
In the last few decades, literary critics have increasingly drawn insights from cognitive neuroscience to deepen and clarify our understanding of literary representations of mind. This cognitive turn has been equally generative and contentious. While cognitive literary studies has reinforced how central the concept of mind is to aesthetic practice from the classical period to the present, critics have questioned its literalism and selective borrowing of scientific authority. Mindful Aesthetics presents both these perspectives as part of a broader consideration of the ongoing and vital importance of shifting concepts of mind to both literary and critical practice. This collection contributes to the forging of a new interdisciplinarity,' to paraphrase Alan Richardson's recent preface to the Neural Sublime, that is more concerned with addressing how, rather than why, we should navigate the increasingly narrow gap between the humanities and the sciences.
A COMPANION TO KIERKEGAARD “‘Companions’ to important thinkers help readers focus on the main drift of their texts with the help of a dig into their origin and some account of their reception. This one digs deeper, and over a wider terrain, than most. But it does more. Besides guiding us to the staples of theology and philosophy in Kierkegaard’s background, it also looks forward to a future, as if Kierkegaard, too, might be taken by the arm and told that here was something that should interest him (about politics, social life, psychology, education, literary theory, deconstruction, theatre). It is as much a sign of the extraordinary richness of Kierkegaard’s literary palette as of the now wide currency of his thought that its elements can become topics in their own right, with Kierkegaard their inspiration. Jon Stewart and his authors are to be congratulated for bringing this unique thinker into our living presence on such a scale and with so many things to talk about.” Alastair Hannay, Professor Emeritus, University of Oslo Born in Copenhagen in 1813, Søren Kierkegaard produced a remarkable amount of work during his fairly short life. When he died in 1855 he left behind a complex and interdisciplinary legacy that continues to spark academic debate. Edited by one of the world’s leading Kierkegaard scholars, A Companion to Kierkegaard provides the most comprehensive single-volume overview of Kierkegaard studies currently available. Featuring contributions from an international array of scholars, the collection covers all the major topics within the broad field of Kierkegaard research, including philosophy, theology, aesthetics, art, literary theory, social sciences, and politics. Kierkegaard’s contribution to each of these disciplines is illustrated through examination of the sources he drew upon, the reception of his ideas, and the unique conceptual insights he brought to each topic. A Companion to Kierkegaard demystifies the complex field of Kierkegaard studies providing the ideal entry-point into his writing for readers at all levels. This collection will be an essential tool for students and scholars from across the disciplines who are interested in learning more about this important and influential thinker.
This new collection of essays on Coetzee examines how his novels create and unsettle literary authority. Its unique contribution is to show how Coetzee provokes us into reconsidering certain basic formal and existential questions such as the nature of literary realism, the authority of the author and the constitution of the human self in a posthumanist setting by consciously revealing the literary-theoretical seams of his work. Strong Opinions makes the innovative claim that Coetzee's work is driven not by a sense of scepticism or nihilism but rather by a form of controlled exposure that defines the literary. The essays in the volume variously draw attention to three of Coetzee's most recent and significant experiments in controlled exposure. The first is the exposure of place-Coetzee's decision to set his novels in his newly adopted country of Australia. The second is the exposure of form-Coetzee's direct, almost essayistic address of literary-philosophical topics within his novels. And the third is the exposure of limits-Coetzee's explicit deconstruction of the traditional limits of human life.