Brian Willems - Böcker

In the middle of the eigtheenth century, a new fad found its way into the gardens of England's well-to-do: building fake Gothic ruins. Newly constructed castle towers and walls looked like they were already falling apart, even on the first day of their creation. Made of stone, plaster, or even canvas, these "sham ruins" are often considered an embarrassing blip in English architectural history. However, Sham Ruins: A User's Guide expands the specific example of the sham ruin into a general principle to examine the way purposely broken objects can be used to both uncover old truths and invent new ones. Along with architecture, work by Ivan Vladislavić, Tom Stoppard, Alain Mabanckou, Aleksei Fedorchenko, Michael Haneke, and Sturtevant is used to develop this thesis, as well as artifacts such as pre-torn jeans, fake histories, and broken screen apps. Using these examples, one of the key questions the book raises is: what is it that sham ruins ruin? In other words, if real ruins are ruins of what they actually are, then sham ruins should be considered ruins of what they are not. Thus sham ruins are about imposing new meaning where such meaning does not and should not exist. They also can show how things we think are functioning well are actually already broken. Sham ruins do this, and much more, by being lies, ruses, and embarrassments. This is what gives them the power with which we can think about objects in new, unintended ways.

In the middle of the eigtheenth century, a new fad found its way into the gardens of England's well-to-do: building fake Gothic ruins. Newly constructed castle towers and walls looked like they were already falling apart, even on the first day of their creation. Made of stone, plaster, or even canvas, these "sham ruins" are often considered an embarrassing blip in English architectural history. However, Sham Ruins: A User's Guide expands the specific example of the sham ruin into a general principle to examine the way purposely broken objects can be used to both uncover old truths and invent new ones. Along with architecture, work by Ivan Vladislavić, Tom Stoppard, Alain Mabanckou, Aleksei Fedorchenko, Michael Haneke, and Sturtevant is used to develop this thesis, as well as artifacts such as pre-torn jeans, fake histories, and broken screen apps. Using these examples, one of the key questions the book raises is: what is it that sham ruins ruin? In other words, if real ruins are ruins of what they actually are, then sham ruins should be considered ruins of what they are not. Thus sham ruins are about imposing new meaning where such meaning does not and should not exist. They also can show how things we think are functioning well are actually already broken. Sham ruins do this, and much more, by being lies, ruses, and embarrassments. This is what gives them the power with which we can think about objects in new, unintended ways.

Bringing together over forty original short essays, some academic, others more creative in nature, this collection responds to the political, historical, social, and economic situation in which we find ourselves today.The editors argue that we are living in a repetition that must be stopped – if our goal is that the signifier "humanity" remains in the following centuries, the time has come to work in the present. The objective is not to deliver precise or quick answers, but to gather varied voices from different continents, bringing together different languages, ideas, practices, theories, thoughts, and desires. In the words of Yanis Varoufakis, "urging us to become agents of a future that ends unnecessary mass suffering and inspire humanity to realise its potential for authentic freedom." To leave the concept of a manifesto open, the contradictory aspects of the chapters are a subject of the manifesto itself. This is a manifesto of contradictions that reflects our reality as well as our struggles and our aspirations.This unique anthology will appeal to students and scholars across the humanities and social sciences interested in critical theory and social change.

Bringing together over forty original short essays, some academic, others more creative in nature, this collection responds to the political, historical, social, and economic situation in which we find ourselves today.The editors argue that we are living in a repetition that must be stopped – if our goal is that the signifier "humanity" remains in the following centuries, the time has come to work in the present. The objective is not to deliver precise or quick answers, but to gather varied voices from different continents, bringing together different languages, ideas, practices, theories, thoughts, and desires. In the words of Yanis Varoufakis, "urging us to become agents of a future that ends unnecessary mass suffering and inspire humanity to realise its potential for authentic freedom." To leave the concept of a manifesto open, the contradictory aspects of the chapters are a subject of the manifesto itself. This is a manifesto of contradictions that reflects our reality as well as our struggles and our aspirations.This unique anthology will appeal to students and scholars across the humanities and social sciences interested in critical theory and social change.

Present-day Minneapolis. Dr Ana Jovanovic, oncologist, goes against the advice of her hospital's tumour board and schedules her patient Jonathanfor exploratory surgery. She is proved right when the surgery reveals that he has cancer. But when tragedy strikes,Ana is sent into a tailspin. She takes an unplanned sabbatical, hoping to rediscover herself outside her dual, devouring roles of doctor and mother to fifteen-year-old Maggie. Now sharply aware of her own mortality, the doctor is confronted with decisions about quality of lifeand quality of death.

Hopkins and Heidegger is a new exploration of Gerard Manley Hopkins' poetics through the work of Martin Heidegger. More radically, Brian Willems argues that the work of Hopkins does no less than propose solutions to a number of hitherto unresolved questions regarding Heidegger's later writings, vitalizing the concepts of both writers beyond their local contexts. Willems examines a number of cross-sections between the poetry and thought of Hopkins and the philosophy of Heidegger. While neither writer ever directly addressed the other's work - Hopkins died the year Heidegger was born, 1899, and Heidegger never turns his thoughts on poetry to the Victorians - a number of similarities between the two have been noted but never fleshed out. Willems' readings of these cross-sections are centred on Hopkins' concepts of 'inscape' and 'instress' and around Heidegger's reading of both appropriation ( Ereignis) and the fourfold ( das Geviert). This study will be of interest to scholars and postgraduates in both Victorian literature and Continental philosophy.

This is a monograph offering new analysis of the philosophical connection between Hopkins and Heidegger which has been repeatedly mentioned but not fleshed out in the literature of either literary criticism or philosophy. "Hopkins & Heidegger" is a new exploration of Gerard Manley Hopkins' poetics through the work of Martin Heidegger. More radically, Brian Willems argues that the work of Hopkins does no less than propose solutions to a number of hitherto unresolved questions regarding Heidegger's later writings, vitalizing the concepts of both writers beyond their local contexts. Willems examines a number of cross-sections between the poetry and thought of Hopkins and the philosophy of Heidegger. While neither writer ever directly addressed the other's work - Hopkins died the year Heidegger was born, 1899, and Heidegger never turns his thoughts on poetry to the Victorians - a number of similarities between the two have been noted but never fleshed out. Willems' readings of these cross-sections are centred on Hopkins' concepts of 'inscape' and 'instress' and around Heidegger's reading of both appropriation (Ereignis) and the fourfold (das Geviert).This study will be of interest to scholars and postgraduates in both Victorian literature and Continental philosophy.

Brian Willems draws on the science fiction of Cormac McCarthy, Paolo Bacigalupi, Neil Gaiman, China Miéville, Doris Lessing and Kim Stanley Robinson alongside speculative materialists including Graham Harman, Quentin Meillassoux and Jane Bennett. By questioning it, these writers and philosophers both develop and challenge anthropomorphism. Willems looks at how nonsense and sense exist together in science fiction, the way that language is not a guarantee of personhood, the role of vision in relation to identity formation, the difference between metamorphosis and modulation, representations of non-human deaths and the function of plasticity within the Anthropocene.

Brian Willems draws on the science fiction of Cormac McCarthy, Paolo Bacigalupi, Neil Gaiman, China Miéville, Doris Lessing and Kim Stanley Robinson alongside speculative materialists including Graham Harman, Quentin Meillassoux and Jane Bennett. By questioning it, these writers and philosophers both develop and challenge anthropomorphism. Willems looks at how nonsense and sense exist together in science fiction, the way that language is not a guarantee of personhood, the role of vision in relation to identity formation, the difference between metamorphosis and modulation, representations of non-human deaths and the function of plasticity within the Anthropocene.

Films about the moon show that even after the lunar landing of 1969 our celestial neighbor has lost none of its aptitude for being made of green cheese. In fact, as soon as you put the moon on screen it is lost. This is equally true for a wide range of moon films, including the theatricality of Melies, the incredulity of camp, the illegibility of footage shot by Apollo astronauts and the revisionary history of Transformers 3. Yet, as paradoxical as it might seem at first, it is only when we "lose sight" of the moon that lunar truths begin to come forth. This is because fantastic elements of the moon-by their mere absurdity-can indicate non-fantastic elements. However, what is of interest here is not realistic or fantastic lunar truths but rather that the moon is an object which invites, or even demands, more than one truth at once.

Henry, Henry is a brilliantly conceived experimental novel comprising two alternating stories: a factually inaccurate pseudo-biography of 17th-century composer Henry Purcell and the mid-20th-century story of the people writing the biography. In the 17th-century narrative, the young Henry is repeatedly imprisoned, has an affair with the choirmaster's wife, and is afflicted with an unusual fondness for nice clothes. Falsely accused of stealing all of the cornets from the royal stock of instruments, Henry is banished to a town infested with the plague. There he starts an affair with another woman, Cathleen. Upon his return to London, Henry is confronted with the complexities of his love life. The 20th-century narrative tells of faux-scholar Mr Austen who has taken up residence in a small coastal town to get on with his work. There he befriends the Purcell family: mother and young son Henry. At once wild, philosophical and thought-provoking, Henry, Henry is a novella that will stay with you.