Joseph Acquisto – författare

What role did music play in the creation of a new aesthetics of poetry in French from the 1860s to the 1930s? How did music serve as an unassimilable 'other' against which the French symbolist poets crafted a new poetics? And why did music gradually disappear from early twentieth-century poetic discourse? These are among the questions Joseph Acquisto poses in his lively study of the ways in which Baudelaire, Mallarmé, Ghil, and Royère question the nature and function of the lyric through an ever-shifting set of intertextual and cultural contexts. Rather than focusing on 'musicality' in verse, the author addresses the consequences of choosing music as a site of dialogue with poetry. Acquisto argues that memory plays an under acknowledged yet vital role in these poets' rewriting of symbolist poetics. His reading of their interactions, and his focus on both major and neglected poets, exposes the myth of a small handful of 'great authors' shaping symbolism while a host of disciples propagated the tradition. Rather, Acquisto proposes, the multiplicity of authors writing and rewriting symbolism invites a dialogic approach to the poetics of the period. Moreover, music, as theorized rather than performed or heard, serves as a privileged mobile space of poetic creation and dialogue for these poet-critics; it is through engagement with music, supposedly the purest or most abstract of the arts, that one can retrace the textual and cultural transformations accomplished by the symbolist tradition. By extension, these poets' rethinking of poetics is an occasion for present-day critics to re-examine assumptions, not only about the intersections of music and poetry and our understanding of symbolist poetics but also about the role that the aesthetic implicitly plays in the creation, preservation, or reshaping of cultural memory.

What role did music play in the creation of a new aesthetics of poetry in French from the 1860s to the 1930s? How did music serve as an unassimilable 'other' against which the French symbolist poets crafted a new poetics? And why did music gradually disappear from early twentieth-century poetic discourse? These are among the questions Joseph Acquisto poses in his lively study of the ways in which Baudelaire, Mallarmé, Ghil, and Royère question the nature and function of the lyric through an ever-shifting set of intertextual and cultural contexts. Rather than focusing on 'musicality' in verse, the author addresses the consequences of choosing music as a site of dialogue with poetry. Acquisto argues that memory plays an under acknowledged yet vital role in these poets' rewriting of symbolist poetics. His reading of their interactions, and his focus on both major and neglected poets, exposes the myth of a small handful of 'great authors' shaping symbolism while a host of disciples propagated the tradition. Rather, Acquisto proposes, the multiplicity of authors writing and rewriting symbolism invites a dialogic approach to the poetics of the period. Moreover, music, as theorized rather than performed or heard, serves as a privileged mobile space of poetic creation and dialogue for these poet-critics; it is through engagement with music, supposedly the purest or most abstract of the arts, that one can retrace the textual and cultural transformations accomplished by the symbolist tradition. By extension, these poets' rethinking of poetics is an occasion for present-day critics to re-examine assumptions, not only about the intersections of music and poetry and our understanding of symbolist poetics but also about the role that the aesthetic implicitly plays in the creation, preservation, or reshaping of cultural memory.

Joseph Acquisto examines literary writers and critical theorists who employ theological frameworks, but who divorce that framework from questions of belief and thereby remove the doctrine of salvation from their considerations. Acquisto claims that Baudelaire inaugurates a new kind of amodern modernity by canceling the notion of salvation in his writing while also refusing to embrace any of its secular equivalents, such as historical progress or redemption through art. Through a series of “interhistorical” readings that put literary and critical writers from the last 150 years in dialogue, Acquisto shows how these authors struggle to articulate both the metaphysical and esthetic consequences of attempting to move beyond a logic of salvation. Putting these writers into dialogue with Baudelaire highlights the way both literary and critical approaches attempt to articulate a third option between theism and atheism that also steers clear of political utopianism and Nietzschean estheticism. In the concluding section, Acquisto expands metaphysical and esthetic concerns to account also for the ethics inherent in the refusal of the logic of salvation, an ethics which emerges from, rather than seeking to redeem or cancel, a certain kind of nihilism.

What kind of knowledge, if any, does poetry provide? Poets make poems, but they also make meaning and craft a kind of learned and creative ignorance as they provide infinitely revisable answers to the question of what poetry is. That question of poetry’s definition invites broader ones about the relationship of poetry to other lived experience. Poetry thus implies something like a way of life that is resistant to definitive statements and conclusions, and the creation of communities of readers and writers that live in ever-renewed questioning. To resist concluding is to embrace a kind of productive ignorance, a knowledge that is first and foremost aware of poetic knowledge’s own limits. Poetry's Knowing Ignorance shows, through an examination of French poetry, how it is this dialogue in response to a constant questioning, to an answer-turned-question, that continues to blur the boundary between poetry and writing about poetry, between poetry and criticism, and between poetry and other kinds of experience.

What kind of knowledge, if any, does poetry provide? Poets make poems, but they also make meaning and craft a kind of learned and creative ignorance as they provide infinitely revisable answers to the question of what poetry is. That question of poetry’s definition invites broader ones about the relationship of poetry to other lived experience. Poetry thus implies something like a way of life that is resistant to definitive statements and conclusions, and the creation of communities of readers and writers that live in ever-renewed questioning. To resist concluding is to embrace a kind of productive ignorance, a knowledge that is first and foremost aware of poetic knowledge’s own limits. Poetry's Knowing Ignorance shows, through an examination of French poetry, how it is this dialogue in response to a constant questioning, to an answer-turned-question, that continues to blur the boundary between poetry and writing about poetry, between poetry and criticism, and between poetry and other kinds of experience.

Joseph Acquisto examines literary writers and critical theorists who employ theological frameworks, but who divorce that framework from questions of belief and thereby remove the doctrine of salvation from their considerations. Acquisto claims that Baudelaire inaugurates a new kind of amodern modernity by canceling the notion of salvation in his writing while also refusing to embrace any of its secular equivalents, such as historical progress or redemption through art. Through a series of “interhistorical” readings that put literary and critical writers from the last 150 years in dialogue, Acquisto shows how these authors struggle to articulate both the metaphysical and esthetic consequences of attempting to move beyond a logic of salvation. Putting these writers into dialogue with Baudelaire highlights the way both literary and critical approaches attempt to articulate a third option between theism and atheism that also steers clear of political utopianism and Nietzschean estheticism. In the concluding section, Acquisto expands metaphysical and esthetic concerns to account also for the ethics inherent in the refusal of the logic of salvation, an ethics which emerges from, rather than seeking to redeem or cancel, a certain kind of nihilism.

Crusoes and Other Castaways in Modern French Literature: Solitary Adventures by Joseph Acquisto examines the many ways in which the castaway, particularly in the form of engagement with Robinson Crusoe, has been reinterpreted and appropriated in nineteenth through twenty-first century French literature. The book is not merely a literary history of the robinsonnade in France; rather, Acquisto demonstrates how what he calls the genre of "solitary adventure" becomes a vehicle for exploration of much larger questions about the reception of texts, modes of reading, and the relationship between popular and serious literary traditions. The heart of Crusoes and Other Castaways in Modern French Literature examines a crucial moment in the late nineteenth and early twentieth centuries when the history of cultural perspectives on reading and solitude intersect, catalyzing a reconsideration of Defoe's tale. Acquisto's philosophically inflected readings of works by writers from Rousseau to Balzac, Verne to Gide, Valéry to Tournier enhance intertextual and cultural approaches to the castaway myth and broaden our appreciation of the dynamic relation it has to modern French literature writ large. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.

This book traces the emergence of modern pessimism in nineteenth-century France and examines its aesthetic, epistemological, ethical, and political implications.

This book traces the emergence of modern pessimism in nineteenth-century France and examines its aesthetic, epistemological, ethical, and political implications.

This book is about reading Proust’s novel via philosophical and musicological approaches to “modern” listening.

This book is about reading Proust’s novel via philosophical and musicological approaches to “modern” listening.

Reading Baudelaire with Adorno examines Charles Baudelaire’s oeuvre – including verse poems, prose poems, and critical writings – in dialogue with the aesthetic theory of Theodor Adorno, for whom the autonomy of the artwork critically resists any attempt to view it merely as a product of its socio-historic context. Joseph Acquisto analyzes Baudelairean duality through the lens of dissonance, arguing that the figure of the subject as a “dissonant chord” provides a gateway to Baudelaire’s reconfiguration of subjectivity and objectivity in both esthetic and epistemological terms. He argues that Baudelaire’s dissonance depends on older models of subjectivity in order to define itself via the negation of romantic conceptions of a unified lyric subject in favor of one constituted simultaneously as subject and object.This new understanding of subjectivity reconfigures our relationship to the work of art, which will always surpass conceptual attempts to know it fully. Acquisto offers a fresh take on some familiar themes in Baudelaire’s work. Dissonant subjectivity in Baudelaire, rather than cancelling esthetic transcendence, points to a different way forward that depends on a new and dialectical relation of subject and object.

Reading Baudelaire with Adorno examines Charles Baudelaire’s oeuvre – including verse poems, prose poems, and critical writings – in dialogue with the aesthetic theory of Theodor Adorno, for whom the autonomy of the artwork critically resists any attempt to view it merely as a product of its socio-historic context. Joseph Acquisto analyzes Baudelairean duality through the lens of dissonance, arguing that the figure of the subject as a “dissonant chord” provides a gateway to Baudelaire’s reconfiguration of subjectivity and objectivity in both esthetic and epistemological terms. He argues that Baudelaire’s dissonance depends on older models of subjectivity in order to define itself via the negation of romantic conceptions of a unified lyric subject in favor of one constituted simultaneously as subject and object.This new understanding of subjectivity reconfigures our relationship to the work of art, which will always surpass conceptual attempts to know it fully. Acquisto offers a fresh take on some familiar themes in Baudelaire’s work. Dissonant subjectivity in Baudelaire, rather than cancelling esthetic transcendence, points to a different way forward that depends on a new and dialectical relation of subject and object.

Examines how postwar French writers constitute the thinking subject and reshape its relation to the external social world.Joseph Acquisto analyzes the writings of three thinkers during and shortly after the Second World War who address the question of what it means to think, and what it means to constitute oneself as a thinking subject – at a time that seems to come "after everything"; with the ruins of attacked cities echoing the remains of a philosophical tradition that was confident in its establishment of human beings as rational, of reason leading to progress, and of both the self and the world as knowable. What Georges Bataille calls "inner experience" and Emil Cioran labels "thinking against oneself" is something akin to a drama; not a mere representation of the self in relation to the world, but a process of remapping the relation of subject to object of thought dialectically. Acquisto argues that both writers adopt an anti-systematic approach to thinking that implicates fragmentary writing as a way of turning answers about subject-object relations into questions. Acquisto contends that this stands in contrast to the approach of Clément Rosset, whose affirmation of the inaccessibility of the real leads to an anti-intellectual, grace-filled affirmation of life as it is given, under the guise of what he calls the "tragic."Bringing together thinkers that have seldom been discussed in a comparative light, Thought as Experience in Bataille, Cioran, and Rosset examines the affective dimensions of thought as experience and considers the political stakes of postwar thought as "out of order" with the world from which it springs.

Examines how postwar French writers constitute the thinking subject and reshape its relation to the external social world.Joseph Acquisto analyzes the writings of three thinkers during and shortly after the Second World War who address the question of what it means to think, and what it means to constitute oneself as a thinking subject – at a time that seems to come "after everything"; with the ruins of attacked cities echoing the remains of a philosophical tradition that was confident in its establishment of human beings as rational, of reason leading to progress, and of both the self and the world as knowable. What Georges Bataille calls "inner experience" and Emil Cioran labels "thinking against oneself" is something akin to a drama; not a mere representation of the self in relation to the world, but a process of remapping the relation of subject to object of thought dialectically. Acquisto argues that both writers adopt an anti-systematic approach to thinking that implicates fragmentary writing as a way of turning answers about subject-object relations into questions. Acquisto contends that this stands in contrast to the approach of Clément Rosset, whose affirmation of the inaccessibility of the real leads to an anti-intellectual, grace-filled affirmation of life as it is given, under the guise of what he calls the "tragic."Bringing together thinkers that have seldom been discussed in a comparative light, Thought as Experience in Bataille, Cioran, and Rosset examines the affective dimensions of thought as experience and considers the political stakes of postwar thought as "out of order" with the world from which it springs.