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How Non-being Haunts Being reveals how the human world is not reducible to “what is.” Human life is an open expanse of “what was” and “what will be,” “what might be” and “what should be.” It is a world of desires, dreams, fictions, historical figures, planned events, spatial and temporal distances, in a word, absent presences and present absences. Corey Anton draws upon and integrates thinkers such as Jean-Paul Sartre, Henri Bergson, Kenneth Burke, Terrence Deacon, Lynn Margulis, R. D. Laing, Gregory Bateson, Douglas Harding, and E. M. Cioran. He discloses the moral possibilities liberated through death acceptance by showing how living beings, who are of space not merely in it, are fundamentally on loan to themselves. A heady multidisciplinary work, How Non-being Haunts Being explores how absence, incompleteness, and negation saturate life, language, thought, and culture. It details how meaning and moral agency depend upon forms of non-being, and it argues that death acceptance in no way inevitably slides into nihilism. Thoroughgoing death acceptance, in fact, opens opportunities for deeper levels of self-understanding and for greater compassion regarding our common fate. Sure to provoke thought and to stimulate much conversation, it offers countless insights into the human condition.
Sartre explains the theory of existential psychoanalysis in this treatise on human reality.
This engaging and often controversial study of Beckett’s works argues that, for Beckett, pure language is reality. Taking its title from a sentence in Worstward Ho, this rigorous reading of Beckett’s key texts claims that what we perceive in the existential world can never be proved to exist, while language survives scrutiny, and will ‘go on’ to become the real, once it has been divested of its connection to the corporeal. This book draws on the major philosophers to support this thesis, but in so doing argues that Beckett’s thinking surpasses all of theirs, because Beckett’s art is his philosophy and his philosophy is his art. For Beckett, pure language is beyond the text, it is the unpresentable presence, Hamm’s ‘life to come’.
Gregory Bateson’s contribution to 20th century thinking has appealed to scholars from a wide range of fields dealing in one way or another with aspects of communication and epistemology. A number of his insights were taken up and developed further in anthropology, psychology, evolutionary biology and communication theory. But the large, trans-disciplinary synthesis that, in his own mind, was his major contribution to science received little attention from the mainstream scientific communities. This book represents a major attempt to revise this deficiency. Scholars from ecology, biochemistry, evolutionary biology, cognitive science, anthropology and philosophy discuss how Bateson's thinking might lead to a fruitful reframing of central problems in modern science. Most important perhaps, Bateson's bioanthropology is shown to play a key role in developing the set of ideas explored in the new field of biosemiotics. The idea that organismic life is indeed basically semiotic or communicative lies at the heart of the biosemiotic approach to the study of life. The only book of its kind, this volume provides a key resource for the quickly-growing substratum of scholars in the biosciences, philosophy and medicine who are seeking an elegant new approach to exploring highly complex systems.
This book examines the relationship between nihilism and postmodernism in relation to the sublime, and is divided into three parts: history, theory, and praxis. Arguing against the simplistic division in literary criticism between nihilism and the sublime, the book demonstrates that both are clearly implicated with the Enlightenment. Postmodernism, as a product of the Enlightenment, is therefore implicitly related to both nihilism and the sublime, despite the fact that it is often characterised as either nihilistic or sublime. Whereas prior forms of nihilism are 'modernist' because they seek to codify reality, postmodernism creates a new formulation of nihilism - 'postmodern nihilism' - that is itself sublime. This is explored in relation to a broad survey of postmodern literature in two chapters, the first on aesthetics and the second on ethics. It offers a coherent thesis for reappraising the relationship between nihilism and the sublime, and grounds this argument with frequent references to postmodern literature, making it a book suitable for both researchers and those more generally interested in postmodern literature.
“Avery Gordon’s stunningly original and provocatively imaginative book explores the connections linking horror, history, and haunting. ” —George Lipsitz “The text is of great value to anyone working on issues pertaining to the fantastic and the uncanny.” —American Studies International “Ghostly Matters immediately establishes Avery Gordon as a leader among her generation of social and cultural theorists in all fields. The sheer beauty of her language enhances an intellectual brilliance so daunting that some readers will mark the day they first read this book. One must go back many more years than most of us can remember to find a more important book.” —Charles Lemert Drawing on a range of sources, including the fiction of Toni Morrison and Luisa Valenzuela (He Who Searches), Avery Gordon demonstrates that past or haunting social forces control present life in different and more complicated ways than most social analysts presume. Written with a power to match its subject, Ghostly Matters has advanced the way we look at the complex intersections of race, gender, and class as they traverse our lives in sharp relief and shadowy manifestations. Avery F. Gordon is professor of sociology at the University of California, Santa Barbara. Janice Radway is professor of literature at Duke University.
In this book Tiya Miles explores the popular yet troubling phenomenon of "ghost tours," frequently promoted and experienced at plantations, urban manor homes, and cemeteries throughout the South. As a staple of the tours, guides entertain paying customers by routinely relying on stories of enslaved black specters. But who are these ghosts? Examining popular sites and stories from these tours, Miles shows that haunted tales routinely appropriate and skew African American history to produce representations of slavery for commercial gain. "Dark tourism" often highlights the most sensationalist and macabre aspects of slavery, from salacious sexual ties between white masters and black women slaves to the physical abuse and torture of black bodies to the supposedly exotic nature of African spiritual practices. Because the realities of slavery are largely absent from these tours, Miles reveals how they continue to feed problematic "Old South" narratives and erase the hard truths of the Civil War era. In an incisive and engaging work, Miles uses these troubling cases to shine light on how we feel about the Civil War and race, and how the ghosts of the past are still with us.
In a masterful work of cultural history, Charles Sprawson, himself an obsessional swimmer and fluent diver, explores the meaning that different cultures have attached to water, and the search for the springs of classical antiquity. In nineteenth-century England bathing was thought to be an instrument of social and moral reform, while in Germany and America swimming came to signify escape. For the Japanese the swimmer became an expression of samurai pride and nationalism. Sprawson gives is fascinating glimpses of the great swimming heroes: Byron leaping dramatically into the surf at Shelley’s beach funeral; Rupert Brooke swimming naked with Virginia Woolf, the dark water “smelling of mint and mud”; Hart Crane swallow-diving to his death in the Bay of Mexico; Edgar Allan Poe’s lone and mysterious river-swims; Leander, Webb, Weissmuller, and a host of others. Informed by the literature of Swinburne, Goethe, Scott Fitzgerald, and Yukio Mishima; the films of Riefenstahl and Vigo; the Hollywood “swimming musicals” of the 1930s; and delving in and out of Olympic history, Haunts of the Black Masseur is an enthralling assessment of man—body submerged, self-absorbed. It is quite simply the best celebration of swimming ever written, even as it explores aspects of culture in a heretofore unimagined way.
This book is a study of signs in American literature and culture. It is mainly about electric signs, but also deals with non-electric signs and related phenomena, such as movie sets. The 'sign' is considered in both the architectural and semiotic senses of the word. It is argued that the drama and spectacle of the electric sign called attention to the semiotic implications of the 'sign.' In fiction, poetry, and commentary, the electric SIGN became a 'sign' of manifold meanings that this book explores: a sign of the city, a sign of America, a sign of the twentieth century, a sign of modernism, a sign of postmodernism, a sign of noir, a sign of naturalism, a sign of the beats, a sign of signs systems (the Bible to Broadway), a sign of tropes (the Great White way to the neon jungle), a sign of the writers themselves, a sign of the sign itself. If Moby Dick is the great American novel, then it is also the great American novel about signs, as the prologue maintains. The chapters that follow demonstrate that the sign is indeed a 'sign' of American literature. After the electric sign was invented, it influenced Stephen Crane to become a nightlight impressionist and Theodore Dreiser to make the 'fire sign' his metaphor for the city. An actual Broadway sign might have inspired F. Scott Fitzgerald's The Great Gatsby. In Manhattan Transfer and U.S.A., John Dos Passos portrayed America as just a spectacular sign. William Faulkner's electric signs are full of sound and fury signifying modernity. The Last Tycoon was a sign of Fitzgerald's decline. The signs of noir can be traced to Poe's 'The Man of the Crowd.' Absence flickers in the neons of Raymond Chandler's Los Angeles. The death of God haunts the neon wilderness of Nelson Algren. Hitler's 'empire' was an non-intentional parody of Nathanael West's California. The beats reinvented Times Square in their own image. Jack Kerouac's search for the center of Saturday night was a quest for transcendence. This book will interest readers who want to learn more about the city, the history of advertising, electric lighting, nightlife, architecture, and semiotics. In contrast to other cultural studies, however, Signs of the Signs is primarily a work of literary criticism. Lovers of literary light will appreciate this book the most.
In this delightfully witty, provocative book, literature professor and psychoanalyst Pierre Bayard argues that not having read a book need not be an impediment to having an interesting conversation about it. (In fact, he says, in certain situations reading the book is the worst thing you could do.) Using examples from such writers as Graham Greene, Oscar Wilde, Montaigne, and Umberto Eco, he describes the varieties of "non-reading"-from books that you've never heard of to books that you've read and forgotten-and offers advice on how to turn a sticky social situation into an occasion for creative brilliance. Practical, funny, and thought-provoking, How to Talk About Books You Haven't Read-which became a favorite of readers everywhere in the hardcover edition-is in the end a love letter to books, offering a whole new perspective on how we read and absorb them.