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“A remarkable collection of essays that serve as a rewarding introduction to the more mature thought of Sallis . . . a feast of discourse.” —Notre Dame Philosophical Reviews John Sallis’s thought is oriented to two overarching tasks: to bring to light the elemental in nature and to show how the imagination operates at the very center of human experience. He undertakes these tasks by analyzing a broad range of phenomena, including perception, the body, the natural world, art, space, and the cosmos. In every case, Sallis develops an original form of discourse attuned to the specific phenomenon and enacts a thorough reflection on discourse itself in its relation to voice, dialogue, poetry, and translation. Sallis’s systematic investigations are complemented by his extensive interpretations of canonical figures in the history of philosophy such as Plato, Aristotle, Kant, Schelling, and Hegel and by his engagement with the most original thinkers in the areas of phenomenology, hermeneutics, and deconstruction.
The Plastic Turn offers a novel way of looking at plastic as the defining material of our age and at the plasticity of plastic as an innovative means of understanding the arts and literature. Ranjan Ghosh terms this approach the material-aesthetic and, through this concept, traces the emergence and development of plastic polymers along the same historical trajectory as literary modernism. Plastic's growth as a product in the culture industry, its formation through multiple application and chemical syntheses, and its circulation via oceanic movements, Ghosh argues, correspond with, and offers novel insights into, developments in modernist literature and critical theory. Through innovative readings of canonical modernist texts, analyses of art works, and accounts of plastic's devastating environmental impact, The Plastic Turn proposes plastic's unique properties and destructive ubiquity as a "theory machine" to explain literature and life in the Anthropocene. Introducing several new concepts (like plastic literature, plastic literary, etc.) into critical-humanist discourse, Ghosh enmeshes literature and theory, materiality and philosophy, history and ecology, to explore why plastic as a substance and as an idea intrigues, disturbs, and haunts us.
Since the 1980s novels about childhood for adults have been a booming genre within the contemporary British literary market. Childhood in the Contemporary English Novel offers the first comprehensive study of this literary trend. Assembling analyses of key works by Ian McEwan, Doris Lessing, P. D. James, Nick Hornby, Sarah Moss and Stephen Kelman and situating them in their cultural and political contexts, Sandra Dinter uncovers both the reasons for the current popularity of such fiction and the theoretical shift that distinguishes it from earlier literary epochs. The book’s central argument is that the contemporary English novel draws on the constructivist paradigm shift that revolutionised the academic study of childhood several decades ago. Contemporary works of fiction, Dinter argues, depart from the notion of childhood as a naturally given phase of life and examine the agents, interests and conflicts involved in its cultural production. Dinter also considers the limits of this new theoretical impetus, observing that authors and scholars alike, even when they claim to conceive of childhood as a construct, do not always give up on the idea of its ‘natural’ core. Accordingly, this book reconstructs how the English novel between the 1980s and the 2010s oscillates between an acknowledgment of constructivism and an endorsement of childhood as the last irrevocable quintessence of humanity. In doing so, it successfully extends the literary and cultural history of childhood to the immediate present.
Informed by Gloria Anzaldúa's and José Carlos Mariátegui's work, as well as by Andean cosmology, Omar Rivera turns to Inka stonework and architecture as an example of a “Cosmological Aesthetics.” He articulates ways of sensing, feeling and remembering that are attuned to an aesthetic of water, earth and light. On this basis, Rivera brings forth a corporeal orientation that can be inhabited by the oppressed, one that withdraws from predominant modern/Western conceptions of the human. By providing an aesthetic analysis of cosmological sensing, Rivera sets the stage for exploring physical dimensions of anti-colonial resistance, and furthers the Latinx and Latin American tradition of anti-colonial and liberatory philosophy. Seeing aesthetic involvements with the cosmos as a source for embodied modes of resistance, Rivera turns to the work of María Lugones and Enrique Dussel in order to make explicit the aesthetic dimensions of their work. Andean Aesthetics and Anticolonial Resistance creates a new dialogue between art historians, artists, and philosophers working on Latin American thought, phenomenology, and hermeneutics. It weaves together a Latin American philosophy that connects pre-Columbian cosmologies with contemporary thinkers. Rivera's original approach introduces us to the living, evolving and aesthetic alternatives to coloniality of power and of knowledge, overhauling current understandings of decolonial theory and opening the tradition in transformative ways.
Andrew Frisardi's essays in Ancient Salt are about several modern and contemporary poets--British, American, and Italian. Frisardi offers close readings of these poets, and considers their work in light of the challenges of living and writing amid the extraordinary transformations of the modern era. Some of the poets are religious, some are agnostic or perhaps atheist, but all of them articulate a human-poetic response to modernity: its pluralism, mobility, scientific discoveries, innovations, and unprecedented global awareness; as well as its rootlessness, fragmentation, dehumanizing mechanization, materialism, environmental catastrophes, and even systematic genocide. The subjects of the essays are Scottish poet Edwin Muir (1887-1959); Italian modernist Giuseppe Ungaretti (1888-1970); Irish poet W. B. Yeats (1865-1939); Welsh poet Vernon Watkins (1906-1968); English poet and Blake scholar Kathleen Raine (1908-2003); English poet-editor Peter Russell (1921-2003); American poet and Alaskan homesteader John Haines (1924-2011); English poet Richard Berengarten (formerly Burns) (1943-); and American poet-critic David Mason (1954-). Frisardi's accessible style and extensive knowledge of the thought and learning of these poets as well as of the craft of poetry makes these essays substantial nourishment for poetry lovers and students.
This volume of essays on the philosopher John Sallis assesses his wide ranging and genuinely original contribution to philosophy. Along with the response to the essays by Sallis, these essays indicate directions for the future of philosophy.
Toward a Postmodern Ethic of Radical Freedom is one of the first, if not the first, to bring Cornel West and Michel Foucault together in a meaningful dialogue to formulate “a postmodern ethic of radical freedom.” This dialogue begins with the practical posture of West, more specifically his notions of truth and reality and work, then goes back to his more theoretical work to explore the same notions. As a project in constructive ethics, this book examines Cornel West’s epistemology (notion of truth) and metaphysics (notions of reality) as foundational components for a postmodern ethic of radical freedom. These foundational components are then brought into a discursive conversation with aspects of Michel Foucault’s archaeology and genealogy, with a method called reconstruction. This reconstruction results in two important trajectories, radical ontology and radical epistemology, which become the pillars for a postmodern ethic of radical freedom. The last chapter of the book weaves together all components with the womanist work of Monica Coleman and Patricia Hill Collins as examples of this ethic of radical freedom. Practically speaking, this postmodern ethic of radical freedom serves as a platform to ensure transcendence so that all people, regardless of race, gender, or sexuality, can enjoy a flourishing and fulfilled life.
A comprehensive and scholarly review of contemporary British and Irish Poetry With contributions from noted scholars in the field, A Companion to Contemporary British and Irish Poetry, 1960-2015 offers a collection of writings from a diverse group of experts. They explore the richness of individual poets, genres, forms, techniques, traditions, concerns, and institutions that comprise these two distinct but interrelated national poetries. Part of the acclaimed Blackwell Companion to Literature and Culture series, this book contains a comprehensive survey of the most important contemporary Irish and British poetry. The contributors provide new perspectives and positions on the topic. This important book: Explores the institutions, histories, and receptions of contemporary Irish and British poetry Contains contributions from leading scholars of British and Irish poetry Includes an analysis of the most prominent Irish and British poets Puts contemporary Irish and British poetry in context Written for students and academics of contemporary poetry, A Companion to Contemporary British and Irish Poetry, 1960-2015 offers a comprehensive review of contemporary poetry from a wide range of diverse contributors.
Virginia Woolf, Europe, and Peace: Transnational Circulations enlarges our understanding of Virginia Woolf’s pacifist ideology and aesthetic response to the World Wars by re-examining her writings and cultural contexts transnationally and comparatively through the complex interplay between modernism, politics, and aesthetics. The “transnational” paradigm that undergirds this collection revolves around the idea of transnational cultural communities of writers, artists, and musicians worldwide who were intellectually involved in the war effort through the forging of pacifist cultural networks that arose as a form of resistance to war, militarism, and the rise of fascism. The book also offers philosophical approaches to notions of transnational pacifism, anti-war ethics, and decolonization, examining how Woolf’s prose undermines center/edge or self/other bifurcations. Breathing new life into Woolf’s anti-war writings through a transnational lens and presenting us with the voices and perspectives of a range of significant scholars and critics, the chapters in this volume engage with mobile and circulatory pacifisms, calling attention to the intersections of modernist inquiries across the arts (art, music, literature, and performance) and transnational critical spaces (Asia, Europe, and the Americas) to show how the convergence of different cultural and linguistic horizons can significantly expand and enrich our understanding of Woolf’s modernist legacy.