J. Hillis Miller – författare

"After Auschwitz to write even a single poem is barbaric". "The Conflagration of Community" challenges Theodor Adorno's famous statement about aesthetic production after the Holocaust, arguing for the possibility of literature to bear witness to extreme collective and personal experiences. J. Hillis Miller considers how novels about the Holocaust relate to fictions written before and after it, and uses theories of community from Jean-Luc Nancy and Derrida to explore the dissolution of community bonds in its wake. Miller juxtaposes readings of books about the Holocaust - Keneally's "Schindler's List", McEwan's "Black Dogs", Spiegelman's "Maus", and Kertesz's "Fatelessness" - with Kafka's novels and Morrison's "Beloved", asking what it means to think of texts as acts of testimony. Throughout, Miller questions the resonance between the difficulty of imagining, understanding, or remembering Auschwitz - a difficulty so often a theme in records of the Holocaust - and the exasperating resistance to clear, conclusive interpretation of these novels. "The Conflagration of Community" is an eloquent study of literature's value to fathoming the unfathomable.

“After Auschwitz to write even a single poem is barbaric.” The Conflagration of Community challenges Theodor Adorno’s famous statement about aesthetic production after the Holocaust, arguing for the possibility of literature to bear witness to extreme collective and personal experiences. J. Hillis Miller masterfully considers how novels about the Holocaust relate to fictions written before and after it, and uses theories of community from Jean-Luc Nancy and Derrida to explore the dissolution of community bonds in its wake.

Miller juxtaposes readings of books about the Holocaust—Keneally’s Schindler’s List, McEwan’s Black Dogs, Spiegelman’s Maus, and Kertész’s Fatelessness—with Kafka’s novels and Morrison’s Beloved, asking what it means to think of texts as acts of testimony. Throughout, Miller questions the resonance between the difficulty of imagining, understanding, or remembering Auschwitz—a difficulty so often a theme in records of the Holocaust—and the exasperating resistance to clear, conclusive interpretation of these novels. The Conflagration of Community is an eloquent study of literature’s value to fathoming the unfathomable.

A landmark work of literary criticism by one of the foremostinterpreters of nineteenth-century England, The Disappearance of God confronts the consciousness of an absent (though perhaps still existent) God in the writings of Thomas De Quincey, Robert Browning, Emily BrontË, Matthew Arnold, and Gerard Manley Hopkins. J. Hillis Miller surveys the intellectual and material developments that conspired to cut man off from God--among other factors the city, developments within Christianity, subjectivism, and the emergence of the modern historical sense--and shows how each writer's body of work reflects a sustained response to the experience of God's disappearance.

"What line should the critic follow in explicating, unfolding, or unknotting . . . passages? How should the critic thread her or his way into the labyrinthine problems of narrative form?—from chapter I In this brilliant and engaging book, one of America's leading literary critics explores the intricacies of narrative theory. Using the image of Ariadne's thread, which was given to Theseus to carry into the labyrinth so that he could find his way out, J. Hillis Miller traces out the "line" so often associated with narrative and writing in general. In the process he illuminates the nature of literature as well as the nature of narrative. Considering a wide range of texts from Western literature over the last two centuries—in particular Meredith's The Egoist, Goethe's Elective Affinities, and Borges's "Death and the Compass"—Miller explores the way rhetorical devices and figurative language interrupt, break into, delay, and expand storytelling. He also illustrates these rhetorical disruptions of narrative logic in his own work. In its four chapters—about the role of line, character, interpersonal relationships, and figurative language in narrative—Miller's study encounters in its own language the problems it discusses, as concepts and words are scrutinized for their diverse meanings and resonances. Demonstrating that every narrative, including this one about the nature of narrative, has divergent lines and multiple motives and uses, Ariadne's Thread tells its story and enacts its subject at the same time.

Debates rage over what kind of literature we should read, what is good and bad literature, and whether in the global, digital age, literature even has a future. But what exactly is literature? Why should we read literature? How do we read literature? These are some of the important questions J. Hillis Miller answers in this beautifully written and passionate book. He begins by asking what literature is, arguing that the answer lies in literature's ability to create an imaginary world simply with words. On Literature also asks the crucial question of why literature has such authority over us. Returning to Plato, Aristotle and the Bible, Miller argues we should continue to read literature because it is part of our basic human need to create imaginary worlds and to have stories. Above all, On Literature is a plea that we continue to read and care about literature.

Paul de Man is often associated with an era of ‘high theory’, an era it is argued may now be coming to a close. This book, written by three leading contemporary scholars, includes both a transcript and facsimile print of a previously unpublished text by de Man of his handwritten notes for a lecture on Walter Benjamin. Challenging and relevant, this volume presents de Man’s work as a critical resource for dealing with the most important questions of the twenty-first century and argues for the place of theory within it.The humanities are flooded with crises of globalism, capitalism and terrorism, contemporary narratives of financial collapse, viral annihilation, species extinction, environmental disaster and terrorist destruction. Cohen, Colebrook and Miller draw out the implications of these crises and their narratives and, reflecting on this work by de Man, explore the limits of political thinking, of historical retrieval and the ethics of archives and cultural memory.

Paul de Man is often associated with an era of ‘high theory’, an era it is argued may now be coming to a close. This book, written by three leading contemporary scholars, includes both a transcript and facsimile print of a previously unpublished text by de Man of his handwritten notes for a lecture on Walter Benjamin. Challenging and relevant, this volume presents de Man’s work as a critical resource for dealing with the most important questions of the twenty-first century and argues for the place of theory within it.The humanities are flooded with crises of globalism, capitalism and terrorism, contemporary narratives of financial collapse, viral annihilation, species extinction, environmental disaster and terrorist destruction. Cohen, Colebrook and Miller draw out the implications of these crises and their narratives and, reflecting on this work by de Man, explore the limits of political thinking, of historical retrieval and the ethics of archives and cultural memory.

In Fiction and Repetition, one of our leading critics and literary theorists offers detailed interpretations of seven novels: Emily Brontë's Wuthering Heights, Thackeray's Henry Esmond, Hardy's Tess of the d'Urbervilles and The Well-Beloved, Conrad's Lord Jim, and Woolf's Mrs. Dalloway and Between the Acts. Miller explores the multifarious ways in which repetition generates meaning in these novels—repetition of images, metaphors, motifs; repetition on a larger scale of episodes, characters, plots; and repetition from one novel to another by the same or different authors. While repetition creates meanings, it also, Miller argues, prevents the identification of a single determinable meaning for any of the novels; rather, the patterns made by the various repetitive sequences offer alternative possibilities of meaning which are incompatible. He thus sees “undecidability” as an inherent feature of the novels discussed.His conclusions make a provocative contribution to current debates about narrative theory and about the principles of literary criticism generally. His book is not a work of theory as such, however, and he avoids the technical terminology dear to many theorists; his book is an attempt to interpret as best he can his chosen texts. Because of his rare critical gifts and his sensitivity to literary values and nuances, his readings send one back to the novels with a new appreciation of their riches and their complexities of form.

A masterclass in attentive reading that opens up brilliant insights into two of George Eliot's novels. Can reading Adam Bede and Middlemarch be justified in this time of climate change, financial meltdown and ineffective politicians? J. Hillis Miller shows how, to be read for today, they must be read slowly, closely and carefully, with much attention to linguistic detail and especially to figures of speech. By relating mistakes like Dorothea's about Casaubon to current affairs, Miller's 'readings for today' can help us to come to terms with our human, social and political situation and even inspire us to act to ameliorate it. Key Features: • The product of many years of reading, teaching and writing by this world-renowned critic• Supported by the abundant previous scholarship on these texts

A Stanford University Press classic.

A Stanford University Press classic.

This innovative work sets two texts by two different authors on facing pages, designed so that they read in tandem—Miller's text on the right, Asensi's on the left. It makes a long trajectory, moving back and forth as an ox plows a field, boustrophedonically, to borrow the figure in Manuel Asensi's title.Black Holes, by J. Hillis Miller, analyzes changes in the contemporary research university in the West. The mission of the research university has been profoundly influenced by the end of the Cold War and by globalization, advances in communication technologies, and shifts in funding from the federal government to transnational corporations. Miller aims to discover what the function of the humanities might be in this new kind of university. Echoing Bill Readings, he calls for a university of dissensus that would be made up of adjacent or overlapping communities, each fundamentally other to the others, each inhabited by its own otherness. Each of those opacities is a kind of black hole in the luminosity or enlightenment to which the university has traditionally been dedicated. Miller concludes with sections on Trollope and Proust that attempt to show how otherness is exemplified in the work of two fundamentally dissimilar authors.Manuel Asensi's J. Hillis Miller: or, Boustrophedonic Reading is the first comprehensive interpretation of Miller's work, one that foregrounds its difference not only from the work of his associates—such as Paul de Man, Jacques Derrida, and Georges Poulet—but from European literary methodologies such as semiotics, Slavic formalism, Glosematics, narratology, structuralism, and reception theory. Bypassing or challenging conventional accounts of Miller's work, Asensi brings a fresh view to his readings of Miller's criticism. He finds there a complex and partially contradictory "matrix" that persists, throughout the apparent methodological changes, from Miller's earliest work to the most recent. According to Asensi, that matrix organizes itself around a fascination with the strangeness or otherness of literary works.

This innovative work sets two texts by two different authors on facing pages, designed so that they read in tandem—Miller's text on the right, Asensi's on the left. It makes a long trajectory, moving back and forth as an ox plows a field, boustrophedonically, to borrow the figure in Manuel Asensi's title.Black Holes, by J. Hillis Miller, analyzes changes in the contemporary research university in the West. The mission of the research university has been profoundly influenced by the end of the Cold War and by globalization, advances in communication technologies, and shifts in funding from the federal government to transnational corporations. Miller aims to discover what the function of the humanities might be in this new kind of university. Echoing Bill Readings, he calls for a university of dissensus that would be made up of adjacent or overlapping communities, each fundamentally other to the others, each inhabited by its own otherness. Each of those opacities is a kind of black hole in the luminosity or enlightenment to which the university has traditionally been dedicated. Miller concludes with sections on Trollope and Proust that attempt to show how otherness is exemplified in the work of two fundamentally dissimilar authors.Manuel Asensi's J. Hillis Miller: or, Boustrophedonic Reading is the first comprehensive interpretation of Miller's work, one that foregrounds its difference not only from the work of his associates—such as Paul de Man, Jacques Derrida, and Georges Poulet—but from European literary methodologies such as semiotics, Slavic formalism, Glosematics, narratology, structuralism, and reception theory. Bypassing or challenging conventional accounts of Miller's work, Asensi brings a fresh view to his readings of Miller's criticism. He finds there a complex and partially contradictory "matrix" that persists, throughout the apparent methodological changes, from Miller's earliest work to the most recent. According to Asensi, that matrix organizes itself around a fascination with the strangeness or otherness of literary works.

This book demonstrates the presence of literature within speech act theory and the utility of speech act theory in reading literary works. Though the founding text of speech act theory, J. L. Austin's How to Do Things with Words, repeatedly expels literature from the domain of felicitous speech acts, literature is an indispensable presence within Austin's book. It contains many literary references but also uses as essential tools literary devices of its own: imaginary stories that serve as examples and imaginary dialogues that forestall potential objections. How to Do Things with Words is not the triumphant establishment of a fully elaborated theory of speech acts, but the story of a failure to do that, the story of what Austin calls a "bogging down." After an introductory chapter that explores Austin's book in detail, the two following chapters show how Jacques Derrida and Paul de Man in different ways challenge Austin's speech act theory generally and his expulsion of literature specifically. Derrida shows that literature cannot be expelled from speech acts—rather that what he calls "iterability" means that any speech act may be literature. De Man asserts that speech act theory involves a radical dissociation between the cognitive and positing dimensions of language, what Austin calls language's "constative" and "performative" aspects. Both Derrida and de Man elaborate new speech act theories that form the basis of new notions of responsible and effective politico-ethical decision and action.The fourth chapter explores the role of strong emotion in effective speech acts through a discussion of passages in Derrida, Wittgenstein, and Austin. The final chapter demonstrates, through close readings of three passages in Proust, the way speech act theory can be employed in an illuminating way in the accurate reading of literary works.

This book demonstrates the presence of literature within speech act theory and the utility of speech act theory in reading literary works. Though the founding text of speech act theory, J. L. Austin's How to Do Things with Words, repeatedly expels literature from the domain of felicitous speech acts, literature is an indispensable presence within Austin's book. It contains many literary references but also uses as essential tools literary devices of its own: imaginary stories that serve as examples and imaginary dialogues that forestall potential objections. How to Do Things with Words is not the triumphant establishment of a fully elaborated theory of speech acts, but the story of a failure to do that, the story of what Austin calls a "bogging down." After an introductory chapter that explores Austin's book in detail, the two following chapters show how Jacques Derrida and Paul de Man in different ways challenge Austin's speech act theory generally and his expulsion of literature specifically. Derrida shows that literature cannot be expelled from speech acts—rather that what he calls "iterability" means that any speech act may be literature. De Man asserts that speech act theory involves a radical dissociation between the cognitive and positing dimensions of language, what Austin calls language's "constative" and "performative" aspects. Both Derrida and de Man elaborate new speech act theories that form the basis of new notions of responsible and effective politico-ethical decision and action.The fourth chapter explores the role of strong emotion in effective speech acts through a discussion of passages in Derrida, Wittgenstein, and Austin. The final chapter demonstrates, through close readings of three passages in Proust, the way speech act theory can be employed in an illuminating way in the accurate reading of literary works.

Since 1988, J. Hillis Miller has traveled to China to lecture on literary theory, especially the role of globalization in literary theory. Over time, he has assisted in the development of distinctively Chinese forms of literary theory, Comparative Literature, and World Literature. The fifteen lectures gathered in An Innocent Abroad span both time and geographic location, reflecting his work at universities across China for more than twenty-five years.More important, they reflect the evolution of Miller’sthinking and of the lectures’ contexts in China as these have markedly changed over the years, especially on either side of Tiananmen Square and in light of China’s economic growth and technological change. A foreword by the leading theorist Fredric Jameson provides additional context.

Thinking Literature across Continents finds Ranjan Ghosh and J. Hillis Miller-two thinkers from different continents, cultures, training, and critical perspectives-debating and reflecting upon what literature is and why it matters. Ghosh and Miller do not attempt to formulate a joint theory of literature; rather, they allow their different backgrounds and lively disagreements to stimulate generative dialogue on poetry, world literature, pedagogy, and the ethics of literature. Addressing a varied literary context ranging from Victorian literature, Chinese literary criticism and philosophy, and continental philosophy to Sanskrit poetics and modern European literature, Ghosh offers a transnational theory of literature while Miller emphasizes the need to account for what a text says and how it says it. Thinking Literature across Continents highlights two minds continually discovering new paths of communication and two literary and cultural traditions intersecting in productive and compelling ways.

Thinking Literature across Continents finds Ranjan Ghosh and J. Hillis Miller-two thinkers from different continents, cultures, training, and critical perspectives-debating and reflecting upon what literature is and why it matters. Ghosh and Miller do not attempt to formulate a joint theory of literature; rather, they allow their different backgrounds and lively disagreements to stimulate generative dialogue on poetry, world literature, pedagogy, and the ethics of literature. Addressing a varied literary context ranging from Victorian literature, Chinese literary criticism and philosophy, and continental philosophy to Sanskrit poetics and modern European literature, Ghosh offers a transnational theory of literature while Miller emphasizes the need to account for what a text says and how it says it. Thinking Literature across Continents highlights two minds continually discovering new paths of communication and two literary and cultural traditions intersecting in productive and compelling ways.

Tropes, Parables, Performatives collects J. Hillis Miller’s essays on seven major twentieth-century authors: Lawrence, Kafka, Stevens, Williams, Woolf, Hardy, and Conrad. For all their evident differences, these essays from early to late explore a single intuition about literature, which may be framed by three words: “trope,” “parable,” and “performative.”Throughout these essays Miller is fascinated with the tropological dimension of literary language, with the way figures of speech turn aside the telling of a story or the presentation of a literary theme. The exploration of this turning leads to the recognition that all works of literature are parabolic, “thrown beside” their real meaning. They tell one story but call forth something else.Miller further agrees that all parables are fundamentally performative. They do not merely name something or give knowledge, but rather use words to make something happen, to get the reader from here to there. Each essay here attempts to formulate what, in a given case, the reader perfomatively enters by way of parabolic trope.

The work of a master critic writing at the peak of his powers, this magisterial book draws on speech act theory, as it originated with J. L. Austin and was further developed by Paul de Man and Jacques Derrida, to investigate the many dimensions of doing things with words in James's fiction.Three modes of speech act occur in James's novels. First, James's writing of his fictions is performative. He puts on paper words that have the power to raise in the reader the phantoms of imaginary persons. Second, James's writing does things with words that do other things in their turn, including conferring on the reader responsibility for further judgment and action: for example, teaching James's novels or writing about them. Finally, the narrators and characters in James's fictions utter speech acts that are forms of doing things with words— promises, declarations, excuses, denials, acts of bearing witness, lies, decisions publicly attested, and the like. The action of each work by James, he shows, is brought about by its own idiosyncratic repertoire of speech acts.In careful readings of six major examples, "The Aspern Papers," The Portrait of a Lady, The Awkward Age, The Wings of the Dove, The Golden Bowl, and The Sense of the Past, Miller demonstrates the value of speech act theory for reading literature.

The work of a master critic writing at the peak of his powers, this magisterial book draws on speech act theory, as it originated with J. L. Austin and was further developed by Paul de Man and Jacques Derrida, to investigate the many dimensions of doing things with words in James's fiction.Three modes of speech act occur in James's novels. First, James's writing of his fictions is performative. He puts on paper words that have the power to raise in the reader the phantoms of imaginary persons. Second, James's writing does things with words that do other things in their turn, including conferring on the reader responsibility for further judgment and action: for example, teaching James's novels or writing about them. Finally, the narrators and characters in James's fictions utter speech acts that are forms of doing things with words— promises, declarations, excuses, denials, acts of bearing witness, lies, decisions publicly attested, and the like. The action of each work by James, he shows, is brought about by its own idiosyncratic repertoire of speech acts.In careful readings of six major examples, "The Aspern Papers," The Portrait of a Lady, The Awkward Age, The Wings of the Dove, The Golden Bowl, and The Sense of the Past, Miller demonstrates the value of speech act theory for reading literature.

This book—the culmination of forty years of friendship between J. Hillis Miller and Jacques Derrida, during which Miller also closely followed all Derrida's writings and seminars—is "for Derrida" in two senses. It is "for him," dedicated to his memory. The chapters also speak, in acts of reading, as advocates for Derrida's work. They focus especially on Derrida's late work, including passages from the last, as yet unpublished, seminars. The chapters are "partial to Derrida," on his side, taking his part, gratefully submitting themselves to the demand made by Derrida's writings to be read—slowly, carefully, faithfully, with close attention to semantic detail.The chapters do not progress forward to tell a sequential story. They are, rather, a series of perspectives on the heterogeneity of Derrida's work, or forays into that heterogeneity.The chief goal has been, to borrow a phrase from Wallace Stevens, "plainly to propound" what Derrida says. The book aims, above all, to render Derrida's writings justice. It should be remembered, however, that, according to Derrida himself, every rendering of justice is also a transformative interpretation. A book like this one is not a substitute for reading Derrida for oneself. It is to be hoped that it will encourage readers to do just that.

Communities in Fiction reads six novels or stories (one each by Trollope, Hardy, Conrad, Woolf, Pynchon, and Cervantes) in the light of theories of community worked out (contradictorily) by Raymond Williams, Martin Heidegger, and Jean- Luc Nancy.The book's topic is the question of how communities or noncommunities are represented in fictional works. Such fictional communities help the reader understand real communities, including those in which the reader lives. As against the presumption that the trajectory in literature from Victorian to modern to postmodern is the story of a gradual loss of belief in the possibility of community, this book demonstrates that communities have always been presented in fiction as precarious and fractured. Moreover, the juxtaposition of Pynchon and Cervantes in the last chapter demonstrates that period characterizations are never to be trusted. All the features both thematic and formal that recent critics and theorists such as Fredric Jameson and many others have found to characterize postmodern fiction are already present in Cervantes's wonderful early-seventeenth-century "Exemplary Story," "The Dogs' Colloquy." All the themes and narrative devices of Western fiction from the beginning of the print era to the present were there at the beginning, in CervantesMost of all, however, Communities in Fiction looks in detail at its six fictions, striving to see just what they say, what stories they tell, and what narratological and rhetorical devices they use to say what they do say and to tell the stories they do tell. The book attempts to communicate to its readers the joy of reading these works and to argue for the exemplary insight they provide into what Heidegger called Mitsein— being together in communities that are always problematic and unstable.

Communities in Fiction reads six novels or stories (one each by Trollope, Hardy, Conrad, Woolf, Pynchon, and Cervantes) in the light of theories of community worked out (contradictorily) by Raymond Williams, Martin Heidegger, and Jean- Luc Nancy.The book's topic is the question of how communities or noncommunities are represented in fictional works. Such fictional communities help the reader understand real communities, including those in which the reader lives. As against the presumption that the trajectory in literature from Victorian to modern to postmodern is the story of a gradual loss of belief in the possibility of community, this book demonstrates that communities have always been presented in fiction as precarious and fractured. Moreover, the juxtaposition of Pynchon and Cervantes in the last chapter demonstrates that period characterizations are never to be trusted. All the features both thematic and formal that recent critics and theorists such as Fredric Jameson and many others have found to characterize postmodern fiction are already present in Cervantes's wonderful early-seventeenth-century "Exemplary Story," "The Dogs' Colloquy." All the themes and narrative devices of Western fiction from the beginning of the print era to the present were there at the beginning, in CervantesMost of all, however, Communities in Fiction looks in detail at its six fictions, striving to see just what they say, what stories they tell, and what narratological and rhetorical devices they use to say what they do say and to tell the stories they do tell. The book attempts to communicate to its readers the joy of reading these works and to argue for the exemplary insight they provide into what Heidegger called Mitsein— being together in communities that are always problematic and unstable.

Debates rage over what kind of literature we should read, what is good and bad literature, and whether in the global, digital age, literature even has a future. But what exactly is literature? Why should we read literature? How do we read literature? These are some of the important questions J. Hillis Miller answers in this beautifully written and passionate book. He begins by asking what literature is, arguing that the answer lies in literature's ability to create an imaginary world simply with words. On Literature also asks the crucial question of why literature has such authority over us. Returning to Plato, Aristotle and the Bible, Miller argues we should continue to read literature because it is part of our basic human need to create imaginary worlds and to have stories. Above all, On Literature is a plea that we continue to read and care about literature.

Debates rage over what kind of literature we should read, what is good and bad literature, and whether in the global, digital age, literature even has a future. But what exactly is literature? Why should we read literature? How do we read literature? These are some of the important questions J. Hillis Miller answers in this beautifully written and passionate book. He begins by asking what literature is, arguing that the answer lies in literature's ability to create an imaginary world simply with words. On Literature also asks the crucial question of why literature has such authority over us. Returning to Plato, Aristotle and the Bible, Miller argues we should continue to read literature because it is part of our basic human need to create imaginary worlds and to have stories. Above all, On Literature is a plea that we continue to read and care about literature.

Paul de Man is often associated with an era of ‘high theory’, an era it is argued may now be coming to a close. This book, written by three leading contemporary scholars, includes both a transcript and facsimile print of a previously unpublished text by de Man of his handwritten notes for a lecture on Walter Benjamin. Challenging and relevant, this volume presents de Man’s work as a critical resource for dealing with the most important questions of the twenty-first century and argues for the place of theory within it.The humanities are flooded with crises of globalism, capitalism and terrorism, contemporary narratives of financial collapse, viral annihilation, species extinction, environmental disaster and terrorist destruction. Cohen, Colebrook and Miller draw out the implications of these crises and their narratives and, reflecting on this work by de Man, explore the limits of political thinking, of historical retrieval and the ethics of archives and cultural memory.

Paul de Man is often associated with an era of ‘high theory’, an era it is argued may now be coming to a close. This book, written by three leading contemporary scholars, includes both a transcript and facsimile print of a previously unpublished text by de Man of his handwritten notes for a lecture on Walter Benjamin. Challenging and relevant, this volume presents de Man’s work as a critical resource for dealing with the most important questions of the twenty-first century and argues for the place of theory within it.The humanities are flooded with crises of globalism, capitalism and terrorism, contemporary narratives of financial collapse, viral annihilation, species extinction, environmental disaster and terrorist destruction. Cohen, Colebrook and Miller draw out the implications of these crises and their narratives and, reflecting on this work by de Man, explore the limits of political thinking, of historical retrieval and the ethics of archives and cultural memory.