Carrie Rohman – författare

Choreographies of the Living explores the implications of shifting from viewing art as an exclusively human undertaking to recognizing it as an activity that all living creatures enact. Carrie Rohman reveals the aesthetic impulse itself to be profoundly trans-species, and in doing so she revises our received wisdom about the value and functions of artistic capacities. Countering the long history of aesthetic theory in the West--beginning with Plato and Aristotle, and moving up through the recent claims of "neuroaesthetics"--Rohman challenges the likening of aesthetic experience to an exclusively human form of judgment. Turning toward the animal in new frameworks for understanding aesthetic impulses, Rohman emphasizes a deep coincidence of humans' and animals' elaborations of fundamental life forces. Examining a range of literary, visual, dance, and performance works and processes by modernist and contemporary figures such as Isadora Duncan, D. H. Lawrence, Virginia Woolf, and Merce Cunningham, Rohman reconceives the aesthetic itself not as a distinction separating humans from other animals, but rather as a framework connecting embodied beings. Her view challenges our species to acknowledge the shared status of art-making, one of our most hallowed and formerly exceptional activities.

Choreographies of the Living explores the implications of shifting from viewing art as an exclusively human undertaking to recognizing it as an activity that all living creatures enact. Carrie Rohman reveals the aesthetic impulse itself to be profoundly trans-species, and in doing so she revises our received wisdom about the value and functions of artistic capacities. Countering the long history of aesthetic theory in the West--beginning with Plato and Aristotle, and moving up through the recent claims of "neuroaesthetics"--Rohman challenges the likening of aesthetic experience to an exclusively human form of judgment. Turning toward the animal in new frameworks for understanding aesthetic impulses, Rohman emphasizes a deep coincidence of humans' and animals' elaborations of fundamental life forces. Examining a range of literary, visual, dance, and performance works and processes by modernist and contemporary figures such as Isadora Duncan, D. H. Lawrence, Virginia Woolf, and Merce Cunningham, Rohman reconceives the aesthetic itself not as a distinction separating humans from other animals, but rather as a framework connecting embodied beings. Her view challenges our species to acknowledge the shared status of art-making, one of our most hallowed and formerly exceptional activities.

Choreographies of the Living explores the implications of shifting from viewing art as an exclusively human undertaking to recognizing it as an activity that all living creatures enact. Carrie Rohman reveals the aesthetic impulse itself to be profoundly trans-species, and in doing so she revises our received wisdom about the value and functions of artistic capacities. Countering the long history of aesthetic theory in the West--beginning with Plato and Aristotle, and moving up through the recent claims of "neuroaesthetics"--Rohman challenges the likening of aesthetic experience to an exclusively human form of judgment. Turning toward the animal in new frameworks for understanding aesthetic impulses, Rohman emphasizes a deep coincidence of humans'' and animals'' elaborations of fundamental life forces. Examining a range of literary, visual, dance, and performance works and processes by modernist and contemporary figures such as Isadora Duncan, D. H. Lawrence, Virginia Woolf, and Merce Cunningham, Rohman reconceives the aesthetic itself not as a distinction separating humans from other animals, but rather as a framework connecting embodied beings. Her view challenges our species to acknowledge the shared status of art-making, one of our most hallowed and formerly exceptional activities.

Choreographies of the Living explores the implications of shifting from viewing art as an exclusively human undertaking to recognizing it as an activity that all living creatures enact. Carrie Rohman reveals the aesthetic impulse itself to be profoundly trans-species, and in doing so she revises our received wisdom about the value and functions of artistic capacities. Countering the long history of aesthetic theory in the West--beginning with Plato and Aristotle, and moving up through the recent claims of "neuroaesthetics"--Rohman challenges the likening of aesthetic experience to an exclusively human form of judgment. Turning toward the animal in new frameworks for understanding aesthetic impulses, Rohman emphasizes a deep coincidence of humans'' and animals'' elaborations of fundamental life forces. Examining a range of literary, visual, dance, and performance works and processes by modernist and contemporary figures such as Isadora Duncan, D. H. Lawrence, Virginia Woolf, and Merce Cunningham, Rohman reconceives the aesthetic itself not as a distinction separating humans from other animals, but rather as a framework connecting embodied beings. Her view challenges our species to acknowledge the shared status of art-making, one of our most hallowed and formerly exceptional activities.

Human and animal subjectivity converge in a historically unprecedented way within modernism, as evolutionary theory, imperialism, antirationalism, and psychoanalysis all grapple with the place of the human in relation to the animal. Drawing on the thought of Jacques Derrida and Georges Bataille, Carrie Rohman outlines the complex philosophical and ethical stakes involved in theorizing the animal in humanism, including the difficulty in determining an ontological place for the animal, the question of animal consciousness and language, and the paradoxical status of the human as both a primate body and a "human" mind abstracting itself from the physical and material world. Rohman then turns to the work of Joseph Conrad, D. H. Lawrence, H. G. Wells, and Djuna Barnes, authors who were deeply invested in the relationship between animality and identity. The Island of Dr. Moreau embodies a Darwinian nightmare of the evolutionary continuum; The Croquet Player thematizes the dialectic between evolutionary theory and psychoanalysis; and Women in Love, St.Mawr, and Nightwood all refuse to project animality onto others, inverting the traditional humanist position by valuing animal consciousness. A novel treatment of the animal in literature, Stalking the Subject provides vital perspective on modernism's most compelling intellectual and philosophical issues.

Human and animal subjectivity converge in a historically unprecedented way within modernism, as evolutionary theory, imperialism, antirationalism, and psychoanalysis all grapple with the place of the human in relation to the animal. Drawing on the thought of Jacques Derrida and Georges Bataille, Carrie Rohman outlines the complex philosophical and ethical stakes involved in theorizing the animal in humanism, including the difficulty in determining an ontological place for the animal, the question of animal consciousness and language, and the paradoxical status of the human as both a primate body and a "human" mind abstracting itself from the physical and material world. Rohman then turns to the work of Joseph Conrad, D. H. Lawrence, H. G. Wells, and Djuna Barnes, authors who were deeply invested in the relationship between animality and identity. The Island of Dr. Moreau embodies a Darwinian nightmare of the evolutionary continuum; The Croquet Player thematizes the dialectic between evolutionary theory and psychoanalysis; and Women in Love, St.Mawr, and Nightwood all refuse to project animality onto others, inverting the traditional humanist position by valuing animal consciousness. A novel treatment of the animal in literature, Stalking the Subject provides vital perspective on modernism's most compelling intellectual and philosophical issues.

Human and animal subjectivity converge in a historically unprecedented way within modernism, as evolutionary theory, imperialism, antirationalism, and psychoanalysis all grapple with the place of the human in relation to the animal. Drawing on the thought of Jacques Derrida and Georges Bataille, Carrie Rohman outlines the complex philosophical and ethical stakes involved in theorizing the animal in humanism, including the difficulty in determining an ontological place for the animal, the question of animal consciousness and language, and the paradoxical status of the human as both a primate body and a "human" mind abstracting itself from the physical and material world. Rohman then turns to the work of Joseph Conrad, D. H. Lawrence, H. G. Wells, and Djuna Barnes, authors who were deeply invested in the relationship between animality and identity. The Island of Dr. Moreau embodies a Darwinian nightmare of the evolutionary continuum; The Croquet Player thematizes the dialectic between evolutionary theory and psychoanalysis; and Women in Love, St. Mawr, and Nightwood all refuse to project animality onto others, inverting the traditional humanist position by valuing animal consciousness. A novel treatment of the animal in literature, Stalking the Subject provides vital perspective on modernism''s most compelling intellectual and philosophical issues.

Virginia Woolf and the Natural World is a compilation of thirty-one essays presented at the twentieth annual international conference on Virginia Woolf. This volume explores Woolf's complex engagement with the natural world, an engagement that was as political as it was aesthetic. The diversity of topics within this collection—ecofeminism, the nature of time, the nature of the self, nature and sporting, botany, climate, and landscape, just to name a few—fosters a deeper understanding of the nature of nature in Woolf's works. Contributors include Bonnie Kime Scott, Carrie Rohman, Diana Swanson, Elisa Kay Sparks, Beth Rigel Daugherty, Jane Goldman, and Diane Gillespie, among many others from the international community of Woolf scholars.

A landmark volume documenting the scope and insidiousness of gendered abuse in academia, revealing the limits of institutional redress, and sharing hard-won strategies for change.Broken Record brings together narratives of gendered abuse in academia from across disciplines, at every career stage, around the United States and the world. Individually and collectively, contributors describe harrowing experiences of bullying, mobbing, harassment, and assault in a range of institutional spaces, including classrooms, offices, library stacks, conferences, interviews, and out on field research. Their abusers are teachers, mentors, students, colleagues, chairs, administrators, and even representatives of the very offices tasked with protecting them. Beyond using storytelling to expose the ubiquity of abuse, these writers also theorize its causes and proffer strategies for resistance and healing. With an afterword by Sara Ahmed, author of the groundbreaking Complaint!, Broken Record forms its own powerful collective-a chorus of nearly fifty academics with highly varied yet strikingly consistent narratives, united in a clarion call for change.