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In this book, the first in English devoted exclusively to Maurice Blanchot, John Gregg examines the problematic interaction between the two forms of discourse, critical and fictional, that comprise this writer's hybrid oeuvre. The result is a lucid introduction to the thought of one of the most important figures on the French intellectual scene of the past half-century. Gregg organizes his discussion around the notion of transgression, which Blanchot himself took over from Georges Bataille--most palpably in his interpretation of the myth of Orpheus--as a paradigm capable of accounting for the relationships that exist in the textual economies formed by author, work, and reader. Chapters on the critical work address such issues as Blanchot's ambivalent attitude toward the speculative dialectic of Hegelianism, his thematization of literature's involvement with death, and the mythical and Biblical figures he uses to portray the acts of reading and writing. Gregg also performs extended close readings of two representative works of fiction, Le Très-Haut and L'Attente l'oubli, in an effort to trace Blanchot's evolution as a creator of narratives and to ascertain how his fiction can be seen as constituting a mise en oeuvre of the concerns he treats in his criticism. The book concludes with an assessment of Blanchot's place in the recent history of French critical theory.
Disputing the claim that Algerian writing during the struggle against French colonial rule dealt almost exclusively with revolutionary themes, The Algerian New Novel shows how Algerian authors writing in French actively contributed to the experimental forms of the period, expressing a new age literarily as well as politically and culturally. Looking at canonical Algerian literature as part of the larger literary production in French during decolonization, Valérie K. Orlando considers how novels by Rachid Boudjedra, Mohammed Dib, Assia Djebar, Nabile Farès, Yamina Mechakra, and Kateb Yacine both influenced and were reflectors of the sociopolitical and cultural transformation that took place during this period in Algeria. Although their themes were rooted in Algeria, the avant-garde writing styles of these authors were influenced by early twentieth-century American modernists, the New Novelists of 1940s–50s France, and African American authors of the 1950s–60s. This complex mix of influences led Algerian writers to develop a unique modern literary aesthetic to express their world, a tradition of experimentation and fragmentation that still characterizes the work of contemporary Algerian francophone writers.
Maurice Blanchot (1907-2003), one of the most influential figures of twentieth-century French literature, produced a wide variety of essays and fictions that reflect on the complexities of literary work. His description of writing continually returns to a number of themes, such as solitude, passivity, indifference, anonymity, and absence—forces confronting the writer, but also the reader, the text itself, and the relations between the three. For Blanchot, literature involves a movement toward disappearance, where one risks the loss of self; but such a sacrifice, says Blanchot, is inherent in the act of writing. Approaching Disappearance explores the question of disappearance in Blanchot's critical work and then turns to five narratives that offer a unique reflection on the threat of disappearance and the demands of literature—work by Franz Kafka, Jorge Luis Borges, Louis-René Des Forêts, and Nathalie Sarraute.
The last half of the twentieth century has seen the emergence of literary theory as a new discipline. As with any body of scholarship, various schools of thought exist, and sometimes conflict, within it. I.R. Makaryk has compiled a welcome guide to the field. Accessible and jargon-free, the Encyclopedia of Contemporary Literary Theory provides lucid, concise explanations of myriad approaches to literature that have arisen over the past forty years. Some 170 scholars from around the world have contributed their expertise to this volume. Their work is organized into three parts. In Part I, forty evaluative essays examine the historical and cultural context out of which new schools of and approaches to literature arose. The essays also discuss the uses and limitations of the various schools, and the key issues they address. Part II focuses on individual theorists. It provides a more detailed picture of the network of scholars not always easily pigeonholed into the categories of Part I. This second section analyses the individual achievements, as well as the influence, of specific scholars, and places them in a larger critical context. Part III deals with the vocabulary of literary theory. It identifies significant, complex terms, places them in context, and explains their origins and use. Accessibility is a key feature of the work. By avoiding jargon, providing mini-bibliographies, and cross-referencing throughout, Makaryk has provided an indispensable tool for literary theorists and historians and for all scholars and students of contemporary criticism and culture.
The videodisc includes the videos by the twenty-two artists selected for the exhibition as well as the essays in the catalog and photos of the exhibition installation and design.
A particular model of masculine desire has traditionally been evoked in an effort to understand the subordinate role of women in male-authored fiction. Because of this, the belief that male-authored texts are unfailingly built upon the denial of feminine difference has come to dominate many aspects of literary studies. "Surfacing" the Politics of Desire re-examines the "myths" of masculine desire in order to challenge this premise, placing literature at the centre of recent feminist debates over the ontology and politics of sexual difference. Citing examples of textual resistance to analytical feminist thought, Rajeshwari S. Vallury argues that literature is expressive of desires that are not always configured in terms of oppression or the denial of difference. In other words, a particular politics of reading obscures the multiplicity of desire that literature is capable of affirming and risks sacrificing the possibilities of both literature and desire. Through a re-evaluation of the sexual politics practiced by nineteenth-century male writers such as Balzac, Gautier, and Maupassant, Vallury moves towards a reconfiguration of the relationship between aesthetics and politics. "Surfacing" the Politics of Desire calls into question dominant feminist approaches to the literary representation of gender. Enlisting the philosophy of Deleuze and Guattari, Vallury calls for a different method of reading, one based on a deeper understanding of the politics of literature.
Poet, writer and filmmaker Paul Auster is one of the great contributors to American postmodern literature. Influenced by authors like Poe and the hardboiled detective stories of the 1950s, Auster's novels represented a new genre of "anti-detective fiction," in which the case itself loses direction and is overshadowed by existential questions. Analyzing three of his novels--Ghosts (1986), The Music of Chance (1990) and Mr. Vertigo (1994)--this critical study explores the intertextual relationship between Auster's work and the oeuvre of French writer and critic Maurice Blanchot. The author explores Auster's work as a fictionalization of Blanchot's concept of inspiration and the construction of imaginary space.
Defying Gravity is a major reassessment of the work of Jean Paulhan within the context of his own times, as well as in the light of contemporary debates in literary theory. Best known for his long-serving editorship of the influential Parisian literary review, La Nouvelle Revue Française, Paulhan is now widely acknowledged as one of the most central yet least understood figures of twentieth-century French intellectual and literary history. Syrotinski's study admirably performs the dual purpose of introducing a genuinely innovative and distinctive writer to a general anglophone readership, while engaging critically with his texts and their reception. Syrotinski's readings of Paulhan are both original and provocative, and firmly establish him as an unavoidable point of reference for twentieth-century French literary history and theory.