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Leela Prasad's riveting book presents everyday stories on subjects such as deities, ascetics, cats, and cooking along with stylized, publicly delivered ethical discourse, and shows that the study of oral narrative and performance is essential to ethical inquiry. Prasad builds on more than a decade of her ethnographic research in the famous Hindu pilgrimage town of Sringeri, Karnataka, in southwestern India, where for centuries a vibrant local culture has flourished alongside a tradition of monastic authority. Oral narratives and the seeing-and-doing orientations that are part of everyday life compel the question: How do individuals imagine the normative, and negotiate and express it, when normative sources are many and diverging? Moral persuasiveness, Prasad suggests, is intimately tied to the aesthetics of narration, and imagination plays a vital role in shaping how people create, refute, or relate to "text," "moral authority," and "community." Lived understandings of ethics keep notions of text and practice in flux and raise questions about the constitution of "theory" itself. Prasad's innovative use of ethnography, poetics, philosophy of language, and narrative and performance studies demonstrates how the moral self, with a capacity for artistic expression, is dynamic and gendered, with a historical presence and a political agency.
Leela Prasad's riveting book presents everyday stories on subjects such as deities, ascetics, cats, and cooking along with stylized, publicly delivered ethical discourse, and shows that the study of oral narrative and performance is essential to ethical inquiry. Prasad builds on more than a decade of her ethnographic research in the famous Hindu pilgrimage town of Sringeri, Karnataka, in southwestern India, where for centuries a vibrant local culture has flourished alongside a tradition of monastic authority. Oral narratives and the seeing-and-doing orientations that are part of everyday life compel the question: How do individuals imagine the normative, and negotiate and express it, when normative sources are many and diverging? Moral persuasiveness, Prasad suggests, is intimately tied to the aesthetics of narration, and imagination plays a vital role in shaping how people create, refute, or relate to "text," "moral authority," and "community." Lived understandings of ethics keep notions of text and practice in flux and raise questions about the constitution of "theory" itself. Prasad's innovative use of ethnography, poetics, philosophy of language, and narrative and performance studies demonstrates how the moral self, with a capacity for artistic expression, is dynamic and gendered, with a historical presence and a political agency.
Wallace Stevens once described the "malady of the quotidian," lamenting the dull weight of everyday regimen. Yet he would later hail "that which is always beginning, over and over"--recognizing, if not celebrating, the possibility of fresh invention. Focusing on the poems of Wallace Stevens, Robert Frost, Elizabeth Bishop, and James Merrill, Siobhan Phillips positions everyday time as a vital category in modernist aesthetics, American literature, and poetic theory. She eloquently reveals how, through particular but related means, each of these poets converts the necessity of quotidian experience into an aesthetic and experiential opportunity. In Stevens, Phillips analyzes the implications of cyclic dualism. In Frost, she explains the theoretical depth of a habitual "middle way." In Bishop's work, she identifies the attempt to turn recurrent mornings into a "ceremony" rather than a sentence, and in Merrill, she shows how cosmic theories rely on daily habits. Phillips ultimately demonstrates that a poetics of everyday time contributes not only to a richer understanding of these four writers but also to descriptions of their era, estimations of their genre, and ongoing reconfigurations of the issues that literature reflects and illuminates.
This book uses attention as a prism through which to interrogate the literary text. It starts from analyses of the changes that the mediasphere and communication technologies have brought for the contemporary subject, submitting him/her to the tyranny of a new attention economy. My point is that the contemporary novel and memoir resist such influences and evince a great deal of resilience by promoting an “ecology of attention” (Citton) based on poetic options whose pragmatic effect is to develop an ethics of the particularist type. To do this, I draw on critical and theoretical literature hailing from various fields: psychology, but also more prominently phenomenology, political philosophy, and analytical philosophy (essentially Ordinary Language Philosophy), alongside the ethics of care and vulnerability. By using a selection of fictional and non-fictional narratives, I address such issues as social invisibilities, climate change, AI and cognitive disability and end up drafting a poetics of attention.
Can poetry act as an aesthetic amplification device, akin to a microscope, through which we can sense minute or nearly imperceptible phenomena such as the folding of molecules into their three-dimensional shapes, the transformations that make up the life cycle of a silkworm, or the vaporous movements that constitute the ever-shifting edges of clouds? We tend to think of these subjects as reserved for science, but, as Ada Smailbegović argues, twentieth- and twenty-first-century writers have intermingled scientific methodologies with poetic form to reveal unfolding processes of change. Their works can be envisioned as laboratories within which the methodologies of experimentation, natural historical description, and taxonomic classification allow poetic language to register the rhythms and durations of material transformation. Poetics of Liveliness moves across scales to explore the realms of molecules, fibers, tissues, and clouds. It investigates works such as Christian Bök’s insertion of a poetic text into the DNA code of living bacteria in order to generate a new poem in the shape of a protein molecule, Jen Bervin’s considerations of silk fibers and their use in biomedicine, Gertrude Stein’s examination of brain tissues in medical school and its subsequent influence on her literary taxonomies of character, and Lisa Robertson’s studies of nineteenth-century meteorology and the soft architecture of clouds. In their attempt to understand physical processes unfolding within lively material worlds, Smailbegović contends, these poets have developed a distinctive materialist poetics. Structured as a poetic cosmology akin to Lucretius’s “On the Nature of Things,” which begins at the atomic level and expands out to the vastness of the universe, Poetics of Liveliness provides an innovative and surprising vision of the relationship between science and poetry.
In Inconceivable Effects, Martin Blumenthal-Barby reads theoretical, literary and cinematic works that appear noteworthy for the ethical questions they raise. Via critical analysis of writers and filmmakers whose projects have changed our ways of viewing the modern world—including Hannah Arendt, Franz Kafka, Walter Benjamin, the directors of Germany in Autumn, and Heiner Müller—these essays furnish a cultural base for contemporary discussions of totalitarian domination, lying and politics, the relation between law and body, the relation between law and justice, the question of violence, and our ways of conceptualizing "the human." A consideration of ethics is central to the book, but ethics in a general, philosophical sense is not the primary subject here; instead, Blumenthal-Barby suggests that whatever understanding of the ethical one has is always contingent upon a particular mode of presentation (Darstellung), on particular aesthetic qualities and features of media. Whatever there is to be said about ethics, it is always bound to certain forms of saying, certain ways of telling, certain modes of narration. That modes of presentation differ across genres and media goes without saying; that such differences are intimately linked with the question of the ethical emerges with heightened urgency in this book.
A new, thirtieth-anniversary edition of the landmark ethnography that introduced the anthropology, or the cultural study, of sound.
Simone Weil once wrote that "the vulnerability of precious things is beautiful because vulnerability is a mark of existence." With these words, she established a relationship among vulnerability, beauty, and existence that transcends the boundaries separating the species. Her conception of a radical ethics and aesthetics could be characterized as a new "poetics of species," that forces us to rethink the significance of the body, both human and animal. Exploring the "logic of flesh," or how art and culture use the body to mark species identity, Anat Pick reimagines a poetics that begins with the vulnerability of bodies, not the omnipotence of thought. Offering a powerful alternative to more personalist visions of morality, Pick proposes a "creaturely" approach based on the shared embodiedness of humans and animals and a postsecular perspective on human-animal relations. She turns to literature, film, and other cultural texts that prioritize the inhuman and challenge the familiar inventory of the human (consciousness, language, morality, and dignity). She reintroduces Weil's crucially important work and its elaboration of themes such as witnessing, commemoration, and collective memory, and she moves away from assumptions about animal "otherness" and nonhuman subjectivities. Pick identifies the "animal" within all humans, emphasizing the corporeal and its issues of power and freedom. In her creaturely view, powerlessness is the point at which both aesthetic and ethical thinking must begin.
This collection of essays, originally published at different times, presents a coherent, systematic, and comprehensive theory of the work of literature and its major aspects. The approach, which may be called "Constructive Poetics," does not assume that a work of literature is a text with fixed structures and meanings, but a text that invites the reader to evoke or project a network of interrelated constructs, complementary or contradictory as they may be. The work of literature is not just a narrative, as studies in narratology assume, but a text that projects a fictional world, or an Internal Field of Reference. Meanings in a text are presented through the evocation of "frames of reference" (scenes, characters, ideas, etc.). Language in literature is double-directed: it relates the Internal Field to External Fields and vice versa. The essays explore the problems of fictionality, presentation and representation, metaphor as interaction between several frames of reference, the theory of "Integrational Semantics" in literary and other texts, the meaning of sound patterns in poetry, and the question of "literariness." This theory and its specific aspects were developed by the author in Israel in the 1960s and 1970s and lay at the foundations of the Tel-Aviv School of Poetics. Revived now, it resonates with the current mood in literary criticism.
Does gender have a poetics: What difference does gender make? How does it affect writing, reading, and the functions of text in society? The Poetics of Gender is a brilliant assembly of leading feminist critics whose collective effort presents the most up-to-date research on these important issues. The range of techniques and theories represented here are applied across a broad spectrum of texts and cultural forms, extending from women's writing of the Renaissance and the fiction of George Sand to the relation between quiltmaking and nineteenth-century literary forms, the pornography of Georges Bataille, and the theories of Julia Kristeva.