Anthony Uhlmann – författare

J.M. Coetzee has new things to say about this relation between the ‘real’ and ‘fictions of the real’, and while much has already been written about him, these questions need to be more fully explored. The contributions to this volume are drawn together by the idea of the hinge between the world (whether understood in ontological, bio-ethical, personal and interpersonal, or socio-political terms) and fictional representations of it (whether understood in epistemological, ficto-biographical, formal, or stylistic terms). In this collection, the question of understanding itself — how we understand or imagine our place in the world — is shown to be central to our conception of that world. That is, rather than beginning with forms developed in socio-political understandings, Coetzee’s works ask us to consider what role fiction might play in relation to politics, in relation to history, in relation to ethics and our understanding of human agency and responsibility. Coetzee has a profound interest in the methods through which we make sense of the contemporary world and our place in it, and his approach appeals to readers of fiction, critics and philosophers alike. The central problems he deals with in his fiction are of the kind that confront people everywhere and so involve a "translatability" that allow the works to maintain relevance across cultures. Added to this, though, his fiction makes us question the nature of understanding itself. This book was originally published as a special issue of Textual Practice.

In Beckett and Poststructuralism, Anthony Uhlmann offers a reading of Beckett in relation to French philosophy, particularly the work of Foucault, Deleuze and Guattari, Levinas, and Derrida. Uhlmann offers a work of literary criticism that is also a piece of intellectual history, emphasizing how Beckett develops a kind of critical thinking which differs from yet is just as powerful as that of philosophers who, along with Beckett, found themselves faced with sets of ethical problems which were thrown into sharp relief in post-war France. Uhlmann explores the links between ethics and physical existence in Beckett, Foucault and Deleuze and Guattari, and between ethics and language in Beckett, Derrida and Levinas, showing how post-war French philosophy was powerfully affected by Beckett's work. Literature is not reduced to philosophy or vice versa; rather Uhlmann considers how they interrelate and overlap, informing and deforming one another, and how both encounter history.

Beckett often made use of images from the visual arts and readapted them, staging them in his plays, or using them in his fiction. Anthony Uhlmann sets out to explain how an image differs from other terms, like 'metaphor' or 'representation', and, in the process, to analyse Beckett's use of images borrowed from philosophy and aesthetics. This study, first published in 2006, carefully examines Beckett's thoughts on the image in his literary works and his extensive notes to the philosopher Arnold Geulincx. Uhlmann considers how images might allow one kind of interaction between philosophy and literature, and how Beckett makes use of images which are borrowed from, or drawn into dialogue with, philosophical images from Geulincx, Berkeley, Bergson, and the ancient Stoics. Uhlmann's reading of Beckett's aesthetic and philosophical interests provides a revolutionary reading of the importance of the image in his work.

In Beckett and Poststructuralism, Anthony Uhlmann offers a reading of Beckett in relation to French philosophy, particularly the work of Foucault, Deleuze and Guattari, Levinas, and Derrida. Uhlmann offers a work of literary criticism that is also a piece of intellectual history, emphasizing how Beckett develops a kind of critical thinking which differs from yet is just as powerful as that of philosophers who, along with Beckett, found themselves faced with sets of ethical problems which were thrown into sharp relief in post-war France. Uhlmann explores the links between ethics and physical existence in Beckett, Foucault and Deleuze and Guattari, and between ethics and language in Beckett, Derrida and Levinas, showing how post-war French philosophy was powerfully affected by Beckett's work. Literature is not reduced to philosophy or vice versa; rather Uhlmann considers how they interrelate and overlap, informing and deforming one another, and how both encounter history.

Beckett often made use of images from the visual arts and readapted them, staging them in his plays, or using them in his fiction. Anthony Uhlmann sets out to explain how an image differs from other terms, like 'metaphor' or 'representation', and, in the process, to analyse Beckett's use of images borrowed from philosophy and aesthetics. This study, first published in 2006, carefully examines Beckett's thoughts on the image in his literary works and his extensive notes to the philosopher Arnold Geulincx. Uhlmann considers how images might allow one kind of interaction between philosophy and literature, and how Beckett makes use of images which are borrowed from, or drawn into dialogue with, philosophical images from Geulincx, Berkeley, Bergson, and the ancient Stoics. Uhlmann's reading of Beckett's aesthetic and philosophical interests provides a revolutionary reading of the importance of the image in his work.

When Samuel Beckett first came to international prominence with the success of Waiting for Godot, many critics believed the play was divorced from any recognisable context. The two tramps, and the master and servant they encounter, seemed to represent no one and everyone. Today, critics challenge the assumption that Beckett aimed to break definitively with context, highlighting images, allusions and motifs that tether Beckett's writings to real people, places and issues in his life. This wide-ranging collection of essays from 37 renowned Beckett scholars reveals how extensively Beckett entered into dialogue with important literary traditions and the realities of his time. Drawing on his major works, as well as on a range of letters and theoretical notebooks, the essays are designed to complement each other, building a broad overview that will allow students and scholars to come away with a better sense of Beckett's life, writings and legacy.

When Samuel Beckett first came to international prominence with the success of Waiting for Godot, many critics believed the play was divorced from any recognisable context. The two tramps, and the master and servant they encounter, seemed to represent no one and everyone. Today, critics challenge the assumption that Beckett aimed to break definitively with context, highlighting images, allusions and motifs that tether Beckett's writings to real people, places and issues in his life. This wide-ranging collection of essays from 37 renowned Beckett scholars reveals how extensively Beckett entered into dialogue with important literary traditions and the realities of his time. Drawing on his major works, as well as on a range of letters and theoretical notebooks, the essays are designed to complement each other, building a broad overview that will allow students and scholars to come away with a better sense of Beckett's life, writings and legacy.

J.M. Coetzee has new things to say about this relation between the ‘real’ and ‘fictions of the real’, and while much has already been written about him, these questions need to be more fully explored. The contributions to this volume are drawn together by the idea of the hinge between the world (whether understood in ontological, bio-ethical, personal and interpersonal, or socio-political terms) and fictional representations of it (whether understood in epistemological, ficto-biographical, formal, or stylistic terms). In this collection, the question of understanding itself — how we understand or imagine our place in the world — is shown to be central to our conception of that world. That is, rather than beginning with forms developed in socio-political understandings, Coetzee’s works ask us to consider what role fiction might play in relation to politics, in relation to history, in relation to ethics and our understanding of human agency and responsibility. Coetzee has a profound interest in the methods through which we make sense of the contemporary world and our place in it, and his approach appeals to readers of fiction, critics and philosophers alike. The central problems he deals with in his fiction are of the kind that confront people everywhere and so involve a "translatability" that allow the works to maintain relevance across cultures. Added to this, though, his fiction makes us question the nature of understanding itself. This book was originally published as a special issue of Textual Practice.

Against the mainstream view, Gatens and Uhlmann argue that Spinoza’s philosophy can significantly contribute to understandings of art, creativity and the central place of the imagination in human wellbeing. This perspective shows how concepts essential to Spinoza’s philosophy, such as ingenium, the exemplar and the theory of the affects illuminate how works of art and literature make essential contributions to human thriving. They consider case studies of major English authors who were negatively or positively influenced by Spinoza, including Daniel Defoe, Jonathan Swift, Percy and Mary Shelley, George Eliot and Virginia Woolf.

Thinking in Literature sets out to examine how the Modernist novel might be understood to be a machine for thinking, and further how it might offer means of coming to terms with what it means to think. It begins with a theoretical analysis of the concept of thinking in literature using Gilles Deleuze as a point of departure and returning directly to the work of the two philosophers who were most important to Deleuze's understanding of thinking in literature: Spinoza and Leibniz. Three elements are identified as crucial to aesthetic expression: relation; sensation; and composition. Yet in order to build a fuller understanding of these processes it is necessary to move from theory to specific readings of artistic practice. Uhlmann examines the aesthetic practice of three major Modernist writers: James Joyce, Virginia Woolf, and the young Vladimir Nabokov. Each can be understood as working with relation, sensation and composition, yet each emphasize the interrelations between them in differing ways in expressing the potentials for thinking in literature.

Thinking in Literature sets out to examine how the Modernist novel might be understood to be a machine for thinking, and further how it might offer means of coming to terms with what it means to think. It begins with a theoretical analysis of the concept of thinking in literature using Gilles Deleuze as a point of departure and returning directly to the work of the two philosophers who were most important to Deleuze's understanding of thinking in literature: Spinoza and Leibniz. Three elements are identified as crucial to aesthetic expression: relation; sensation; and composition. Yet in order to build a fuller understanding of these processes it is necessary to move from theory to specific readings of artistic practice. Uhlmann examines the aesthetic practice of three major Modernist writers: James Joyce, Virginia Woolf, and the young Vladimir Nabokov. Each can be understood as working with relation, sensation and composition, yet each emphasize the interrelations between them in differing ways in expressing the potentials for thinking in literature.

Since the controversy and acclaim that surrounded the publication of Disgrace (1999), the awarding of the Nobel Prize for literature and the publication of Elizabeth Costello: Eight Lessons (both in 2003), J. M. Coetzee’s status has begun to steadily rise to the point where he has now outgrown the specialized domain of South African literature. Today he is recognized more simply as one of the most important writers in the English language from the late 20th and early 21st century. Coetzee’s productivity and invention has not slowed with old age. The Childhood of Jesus, published in 2013, like Elizabeth Costello, was met with a puzzled reception, as critics struggled to come to terms with its odd setting and structure, its seemingly flat tone, and the strange affectless interactions of its characters. Most puzzling was the central character, David, linked by the title to an idea of Jesus. J.M. Coetzee’s The Childhood of Jesus: The Ethics of Ideas and Things is at the forefront of an exciting process of critical engagement with this novel, which has begun to uncover its rich dialogue with philosophy, theology, mathematics, politics, and questions of meaning.

Since the controversy and acclaim that surrounded the publication of Disgrace (1999), the awarding of the Nobel Prize for literature and the publication of Elizabeth Costello: Eight Lessons (both in 2003), J. M. Coetzee’s status has begun to steadily rise to the point where he has now outgrown the specialized domain of South African literature. Today he is recognized more simply as one of the most important writers in the English language from the late 20th and early 21st century. Coetzee’s productivity and invention has not slowed with old age. The Childhood of Jesus, published in 2013, like Elizabeth Costello, was met with a puzzled reception, as critics struggled to come to terms with its odd setting and structure, its seemingly flat tone, and the strange affectless interactions of its characters. Most puzzling was the central character, David, linked by the title to an idea of Jesus. J.M. Coetzee’s The Childhood of Jesus: The Ethics of Ideas and Things is at the forefront of an exciting process of critical engagement with this novel, which has begun to uncover its rich dialogue with philosophy, theology, mathematics, politics, and questions of meaning.

J. M. Coetzee: Truth, Meaning, Fiction illuminates the intellectual and philosophical interests that drive Coetzee’s writing. In doing so, it makes the case for Coetzee as an important and original thinker in his own right. Whilst looking at Coetzee’s writing career, from his dissertation through to The Schooldays of Jesus (2016), and interpreting running themes and scenarios, style and evolving attitudes to literary form, Anthony Uhlmann also offers revealing glimpses, informed by archival research, of Coetzee’s writing process. Among the main themes that Uhlmann sees in Coetzee’s writing, and which remains highly relevant today, is the awareness that there is truth in fiction, or that fiction can provide valuable insights into real world problems, and that there are also fictions of the truth: that we are surrounded, in our everyday lives, by stories we wish to believe are true. J. M. Coetzee: Truth, Meaning, Fiction offers a revealing new account of one of arguably our most important contemporary writers.

J. M. Coetzee: Truth, Meaning, Fiction illuminates the intellectual and philosophical interests that drive Coetzee’s writing. In doing so, it makes the case for Coetzee as an important and original thinker in his own right. Whilst looking at Coetzee’s writing career, from his dissertation through to The Schooldays of Jesus (2016), and interpreting running themes and scenarios, style and evolving attitudes to literary form, Anthony Uhlmann also offers revealing glimpses, informed by archival research, of Coetzee’s writing process. Among the main themes that Uhlmann sees in Coetzee’s writing, and which remains highly relevant today, is the awareness that there is truth in fiction, or that fiction can provide valuable insights into real world problems, and that there are also fictions of the truth: that we are surrounded, in our everyday lives, by stories we wish to believe are true. J. M. Coetzee: Truth, Meaning, Fiction offers a revealing new account of one of arguably our most important contemporary writers.

Gerald Murnane: Another World in This One coincides with a renewed interest in his work. It includes an important new essay by Murnane himself, alongside chapters by established and emerging literary critics from Australia and internationally. Together they provide a stimulating reassessment of Murnane’s diverse body of work.

Gail Jones is one of Australia’s foremost contemporary novelists. Her books have won or been shortlisted for the Prime Minister’s Literary Award, the Miles Franklin Award, the Stella Prize, and numerous state literary awards. They are taught in high schools and universities across the country.This collection of essays offers reflections on Jones’ fiction by leading Australian and international literary critics. For readers who loved Sixty Lights, Five Bells, Sorry and Jones’ other novels, and for students of Jones’ work, this book will be an illuminating companion. With chapters on her use of language, her thematic preoccupations, and her place in local and global literary culture, it is a timely guide to the work of an exceptional Australian writer.